This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Hi again, Rich, Just a quick note before I disappear for a couple of days. (I'll be out = sailing :-) Do you mean in the composer, improviser or performer sense or all = three? Are we talking composition, technique, 'sound' sculpture, voicing? all = of them? The answers (observations, extrapolations, wags) could probably = fill a book or two, hotly debated by all. Perhaps I'm misunderstanding = the focus of the question, but it just seems there are so many variables = many of which point in the 'which comes first, the chicken or the egg?' = direction. I suppose I mean "all three" Liszts. I'm thinking particularly of the = limitations Liszt experienced from the slower repetition rates of = earlier actions. I understand he hungered for a faster, more nimble = action, and he considered the modern repetition arm a godsend. It = opened up many more possibilities to him both in composition and = performance. What they are able to write/perform depends very much on the = technology beneath their fingertips.=20 I'm sure that this is true much of the time, but some composers seem = to conjure sounds, and textures, articulations, voicings, temperaments = without regard to whether or not the instruments, technology, or = performers are capable of producing it. Sort of 'I have this idea ( by = the way the system for notating this hasn't been created yet) and I'll = describe it as best I can: can you figure out a way to make it happen?' Ah, but in the end, the composer must make the music accommodate the = technical limitations of the instrumentation, whatever they may be. I = don't think I've ever heard of a composer composing for an instrument = yet to be created, although it almost wouldn't surprise me -- and I'd = almost understand. The weirdest thing I ever did was to write a piece = that incorporated a bobbling hammer. Of course it could only be played = on *that* piano! Well, gotta go! I have a very long day tomorrow, and we'll be up = early to catch the tide. Peace, Sarah Diane Fox, Ph.D., NPT, NPR, NRP, ABCDEFG Soon to be in the Chesapeake=20 ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/e4/4a/43/5b/attachment.htm ---------------------- multipart/alternative attachment--
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