[CAUT] ET vs UET was RE: using as ETD

[Laurence Libin]

I beg to differ; perhaps I didn't make myself clear. Inflection as an 
expressive device is taught and learned (sometimes absorbed unconsciously), 
but in performance one does not ordinarily think of technique unless there's 
a problem. What I meant is that during performance, players and singers 
don't consciously calculate every subtle gesture but simply do them, just as 
a pianist doesn't make a decision during performance about depressing the 
damper pedal each time it's employed, or about which fingering to use. All 
those decisions have, hopefully, been made and practiced and internalized 
beforehand so that spontaneity can drive the music.
Laurence

----- Original Message ----- 
From: "Jeff Tanner" <tannertuner at bellsouth.net>
To: <caut at ptg.org>
Sent: Tuesday, April 20, 2010 2:00 PM
Subject: Re: [CAUT] ET vs UET was RE: using as ETD


>
> ----- Original Message ----- 
> From: "Fred Sturm" <fssturm at unm.edu>
> To: <caut at ptg.org>
> Sent: Monday, April 19, 2010 3:46 PM
> Subject: Re: [CAUT] ET vs UET was RE: using as ETD
>
>
>> On Apr 19, 2010, at 9:54 AM, Laurence Libin wrote:
>>
>>> I imagine not many wind and string players and singers intentionally 
>>> (rather than intuitively or automatically) inflect leading tones,  etc., 
>>> or are always aware they're doing it.
>>
>> In the case of string players, I believe it is conscious and taught.
>
> In the case of voice, it is likewise conscious and taught. I was 
> occasionally taught specific leading tones and slurs which were not 
> written in the published score but were considered traditional 
> interpretation.
> Jeff