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That's a graphical representation, not a logical one. The reason we have a logical structure is so we don't have trouble parsing it. Who is having trouble reading music? BTW, fi ew implys waps het irstf etterl ithw het astl etterl, ouy anc eadr ti.Reedman1
Lost our thread... It's about the graphical representation. Imagine an "exit here" sign that was painted to look like "ex ithe re". You might have a little trouble parsing it correctly. The content's all there, and in logical order, but the way it's presented is misleading. That, "inan uts hell" is what we're talking about.
We're supposed to be musicians, people.
Well... I think we should probably be wrapping this thread up, but: Ivan's point, as I understand it, is that graphical representations can have an influence on the way we perceive, interpret and express music, among other things. And I believe that his intention in pointing this out is to invite us to try to become aware of our sensitivity to such things, so that we may grow as musicians (and probably as people in general). I find the idea - and the experience - eye-opening. Or ear-opening? No, wait... Well, it opens something. And it is very real.
Jaeger Diamond Bb Trumpet
Conn 22b NY Symphony Bb Trumpet
A pile of cornets
Mild N+1 disease...
I feel like I've just stumbled out of a dark room, wandered around only to find myself back in the same dark room again.
You can't blow it if you haven't lived it.
"Even if I could play like Wynton Marsalis, I wouldn't play like Wynton Marsalis."
Martin Committee (1956)
Connstellation 38B (1959)
LA Benge 3X (1970s)
Hans Hoyer G-10 Geyer Horn
...Dreaming of when I can have delusions of adequacy...
Olds Recording '73, Studio '48, Super '47, French Model 38/39, Ambassador '76, Ambassador Cornet '64
Reynolds Contempora LB '49-ish
Conn 22B '37, Frank Holton (early - '23?) "Patent Applied For"
Carol Brass Legend Heavyweight
plus various projects, whims and follies
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