Posted by Klaus on July 17, 2001 at 10:38:13:
In Reply to: Re: New Article on my Web Page posted by Frederick J. Young on July 17, 2001 at 07:19:35:
" I am not sure what the nonlinear mathematical function used by the brain is, but if one knows it he can make calculations based on your measurements."
My experience tells me that even if the human brain might apply mathematical functions to filter, organise, relate, balance, equalize, and in other ways perceive simultaneously oscillating partials and make them into sounds of individual players and of ensembles, then these mathematical functions are not godgiven entities, which are represented in the same way through all of mankind.
Rather they are derivates of cultural upbringing and education. Of course in every single case dependent on the quality of the individual’s ear and brain.
People, who sing better, than I do (which is not very difficult to do), can express to be very happy with band performances, where one can recognise the tune. Whereas my ears immediately think of the very same performances as bad tuning, bad intonation, bad balance, and bad ensemble. (Players in some beginners’ and amateurs’ bands also must have different hearing filters than I have. Just to secure their mental sanity).
Some cultures have higly developed styles of music, where one can nothing but admire the musicianship. But if I feel uncomfortable about the scales and sounds, then I can not really enjoy that music. But then there is this multiple part counterpoint singing, that these 5 pygmy women from West Africa performed, maybe even improvised, in a way, that toppled all of my defences.
I have heard a good band from a European country well known for it beautiful vocal styles having very accomplished trumpet players. Only that they had an ugly sound, where some very "cold" overtones were far too prominent. But these players certainly did project.
I have heard Maurice André live both during his Selmer period, which really sold me on the old Selmer trumpet sound. And during his Schilke period. Which was amazing. In my ears Schilke instruments tend to be "cold". But Maurice André at the end of his career had collected all his wisdom and made these Bb and Eb piccolo trumpets sound like the best flugelhorns ever heard. Pure beauty. And yet another toppling of defences.
The British brass band style has been extremely important for my personal development in music. Great musicianship is dominating the top end of that scene.
Only I hate the sound. A top pro Brit cornet soloist playing the main theme in some TV show, in a non band setting, demonstrated virtuosity at a very high level. But I found his sound thin and airy. And I am sure, that the people who hired him did not hear it that way. And I am sure he has appealed to his British public.
The German band of Ernst Mosch plays music that is hardly lifting itself above the clichés of "German band music". But Mosch and his men have a sense of sound, balance, tuning, and collective handling of dynamics that is amazing. And then he has this one single trumpet player, who with his signals and counter calls does spice up the flugelhorn, tenorhorn, and baritone core of ensemble sound. So my ears are caught despite the music basically being quite banal.
A US equivalent to the Mosh experience was, at least for me, the trumpeter playing the opening theme of "Monopoly". Not very good music, but what a sound and what a musicianship coming out of that trumpet.
Once during a Harry Belafonte show a gimmick was introduced in form of a tubaplayer entering the set. Great player and greta playing. But my dislike of the overblowing through a few passages was a learning experience for a lifetime.
We as individuals hear as we have been taught to do! Wittingly through dedicated (but more or less qualified) schooling. Unwittingly through the tidewaves of more or less organised music cum noise that are flooding our environments.
Yet another verbose board abuse by
Klaus