Open/Closed Kinetic Chains

[sashaco]

Many years ago I took a poetry course with a professor who felt that the heroic couplets in which Pope wrote were too constricting- that they didn't allow free expression. He compared the couplets to the corset-like girdle Pope had to wear for his weak back. I wrote a paper in couplets arguing that mastery of technique allowed fully free expression, an idea we're all acquainted with. I don't remember most of it, but some snatches remain.

Like bubbles rising in a dry champagne
Doth poesy froth in his un-cumbered brain
While we, of vastly duller viscous ilk
Wit try to strain from clotted sour milk.


Elsewhere

When mighty Niklaus to a golf ball bends
He thinks not, "Strike it thus," but plans his ends.
An athlete at his best e'en plans eschews
And lets his instincts take him where they choose.
So Pope, by perfect mastery of his style,
Lets flow his muse, an unimpeded Nile.
Indeed, I'd say Pope's couplets, like his truss,
Aid him to stand more firm than most of us.

(That was meant to be a bit of a reference to, "When Ajax strives some rock's vast weight to throw...")

Forgive me- it WAS an undergraduate paper.

[hardy_practice]

Well, if that hasn't raised the whole tone of our debate!  I'll check out the squash.

[sashaco]

Sorry, me yet again.

Has anyone read George Barth's "The Pianist as Orator"?  I believe there's some discussion of the introduction of the metronome and the conversion of humans into machines in the nineteenth century, although I may be extrapolating in recollection from George's argument.

[hardy_practice]

Sorry, me yet again.

Has anyone read George Barth's "The Pianist as Orator"?  I believe there's some discussion of the introduction of the metronome and the conversion of humans into machines in the nineteenth century, although I may be extrapolating in recollection from George's argument.

Years ago - it was fascinating about how Beethoven thought.  I've just got it down off the shelf.  I'll get back to you.

[sashaco]

I am thinking about Dima's point about injuries and the 19th century. Repetitive motion disorders began with factory work. An artisan who had to perform all the steps in a construction would not suffer such injuries.  The metronome, as it became a standard against which rhythmic perfection was measured, changed not only the way we hear phrases with breaths and so forth (the oratorical style for Barth) but musician's practice techniques- we've probably all tried at some point to keep up with a metronomic beat we're not ready for.

[hardy_practice]

Interestingly, writer's cramp (dystonia) was very much around but not in musicians as far as I'm aware.

[hardy_practice]

Watched

For what it's worth the guy in the dark t-shirt is stiffer in his upper body - works out a lot more I would think.  The extra bulk seems to make him less maneuverable.

[sashaco]

I would be very surprised if Greg wastes any time on upper body strengthening.  I think that in part you are responding to his natural build, but also in part to what I see here as too much attention to a "ready position" which makes him unnaturally stiff.  It's an ironic coincidence that I am arguing that Ramy is the greater "musician" and that he represents himself as such in his celebration in the second clip.

I think the most interesting thing in Barth's book is the discussion of Schindler and Czerny.  George argues that Czerny was more respected, but that his approach, which has come to dominate, is too dry and impersonal, and loses the "oratorical" aspects of performance.  When I read it I remember thinking of Greek sculptures which we see in their white marble perfection, but which the Greeks saw painted in brilliant colours.  Schindler wants his music painted.  Barth is deeply engaged in historical performance practices, but is warning us that they must not be seen as a goal in and of themselves.

[hardy_practice]

The Barth book was quite influential on me.  Of some Chopin I posted in the audition room someone replied ' I'd say the totally erratic rhythms and tempi are a far greater problem. Not sure if that is meant to be rubato, but I believe one must first be able to play in strict time before applying tempo freedom.'  That's wrong - there's no 'strict time' in the first place!