Re: [xmca] For the musicians

[mike cole <lchcmike@gmail.com>]

Great example to think with about a lot, in that episode, Carol, Thanks.

It put me in mind of the following interesting scholar, who talks about the
the origins of
language and its relations to art quite generally and music quite
specifically.

http://ellendissanayake.com/publications/
.

On Mon, Oct 24, 2011 at 8:23 PM, Ivan Rosero <irosero@ucsd.edu> wrote:

> Hello Helen,
>
> What a delightful "capturing" of a young child by a cultural artifact.
>  Here's what I thought about as I watched this boy's performance.
>
> I am an amateur dancer here in San Diego, and teach a beginning performance
> team along with my wife.  One of our team members moves in ways similar to
> this boy, except that, being 28 and not 3, he suffers more than enjoys what
> is going on.  I am not a classical musician, but I would venture to say
> that
> this young conductor blended a mastery all his own (and yet still authentic
> by professional standards) with "auxiliary" movements that are more
> personal/particular (including, of course, the nose picking :)  A similar
> thing happens with our team member --he has mastered certain of the
> locomotive requirements of the salsa routine we're currently practicing,
> but
> seemingly inevitably, all manner of auxiliary movements that fall outside
> the aesthetic of the routine come into play as well.  He tries --no, he
> struggles-- visibly to subdue these movements, but it is difficult for him.
>  In my role as choreographer and team-lead (as well as member of LCHC), I
> feel the tension of simultaneously responding to the expectations of the
> rest of the team in terms of helping them to move along and improve on more
> and more facets of the routine, and my desire to focus on this one team
> member to see what kinds of interaction arrangements can help him get where
> he wants to go.  In his case, or rather in the dance "scene", his auxiliary
> movements are internalized as deficiency and not personal/particular
> accents.
>
> Coming back to our young conductor, it seems to me (from the outside, since
> classical music is not my thing) that a lot of conductors that are
> typically
> called "geniuses" are granted that special social gift of "quirkiness" as
> opposed to deficiency, because the auxiliary movements they retain in their
> professional conducting are "the mark" of genius.  They, and the talented
> child we're talking about here, are captured by very different social
> arrangements (of which we are a constitutive part) than my quirky team
> member.
>
> I assume this has to do as much with our perezhivanie as theirs, but which
> "theirs" we're talking about forces me to think about the difference
> between
> expansive as opposed to "collapsive" development.  Does this make sense?
>
> Ivan
>
>
>
> On Mon, Oct 24, 2011 at 4:21 PM, Helen Grimmett
> <helen.grimmett@monash.edu>wrote:
>
> > Hi again,
> >
> > I put this link on my facebook page and Gloria Quinones commented "That's
> > what I call perezhivanie!" I'd love for you to explain what you meant by
> > that comment here Gloria - but it made me think not so much about the
> > perezhivanie of the little boy, but about our perezhivanie as we watched
> > it.
> > As a musician, my previous experiences certainly gave me a unique
> > interpretation of what was going on which would not necessarily be
> > appreciated or understood in the same way by somebody who has never been
> > conducted or tried to conduct an orchestra, yet their own experiences and
> > expertise in other areas of life would no doubt lead to other equally
> > interesting and emotionally stirring responses and interpretations.
> >
> > Whose perezhivanie were you referring to Gloria? The boy's or yours? I'd
> > love to hear about other people's perezhivanie (emotional experience) as
> > you
> > watched it and how it is informed by your previous experiences (with
> music,
> > young children, videoing, having a runny nose in public, dropping things,
> > being in hysterics, prodigies, performing etc, etc). What resonates with
> > you
> > and why? Maybe this might help us work out what we mean by perezhivanie?
> >
> > Cheers,
> > Helen
> >
> > On 24 October 2011 17:01, Helen Grimmett <helen.grimmett@monash.edu>
> > wrote:
> >
> > > Priceless! It would be fascinating to know the story behind it. I could
> > not
> > > believe how well he knows the music, and his facial expressions in the
> > > quieter, slower parts are just exquisite. Thanks for sharing Carol.
> > >
> > > Cheers,
> > > Helen
> > >
> > >
> > > On 24 October 2011 15:30, Carol Macdonald <carolmacdon@gmail.com>
> wrote:
> > >
> > >> This little boy is a savant: he actually know the whole movement.
>  Watch
> > >> carefully and you will see he is not *following* the music, but
> > >> orchestrating it.  It doesn't say, but perhaps  his father is a
> > conductor.
> > >> Interesting, because there is not such a strong developmental
> > >> line/critical
> > >> period for music, as most composers are highly precocious.
> > >>
> > >> Enjoy it, it made my day.  I hope it makes yours.
> > >>
> > >> Carol
> > >>  (P.S. He reminded us how old he is when he picked his nose!!!)
> > >>
> > >>
> > >> http://www.choralnet.org/view/268945
> > >>
> > >>
> > >>
> > >>
> > >>
> > >>
> > >> --
> > >> Be mindful. Regret nothing.
> > >> Carol's motto.
> > >>
> > >> *Visiting Lecturer
> > >> Wits School of Education
> > >> Research Fellow*
> > >> *Linguistics Dept: Unisa
> > >> *
> > >> __________________________________________
> > >> _____
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> > >> http://dss.ucsd.edu/mailman/listinfo/xmca
> > >>
> > >
> > >
> > >
> > > --
> > > Helen Grimmett
> > > PhD Student, Teaching Associate
> > > Faculty of Education
> > > Monash University, Peninsula Campus
> > >
> > >
> > >
> > >
> > >
> >
> >
> > --
> > Helen Grimmett
> > PhD Student, Teaching Associate
> > Faculty of Education
> > Monash University, Peninsula Campus
> > __________________________________________
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