Well here I sit, waiting out a cancelled lesson, and pondering Kaleea's insights about the 'acceptability' of playing by ear in different cultures and time periods. Thanks, Kaleea!

Notation is one tool which helps us be able to share this aural experience we call Music with others.

Yes, and it's important to realize that it's only a tool, NOT a master, and certainly not the be-all and end-all of music! As some of you have pointed out, written music is fallible (not always accurate) and limited as to how much information it can convey. ANd a written score always lends itself very easily to individual interpretation and variation, depending on the 'comfort level' of the performer (and/or their teacher). For better or for worse.

Today, as Kaleea pointed out, attitudes toward music and how to teach/learn it have become more lenient. This creates problems sometimes when preparing students for exams/festivals. Some highly qualified examiners/adjudicators have their own unique stylistic interpretations and take extreme liberties with the written score. They prefer the music 'their way' and penalize children for playing what's written on the page!

This frustrates me to no end as a teacher! What am I supposed to do -- teach the kids to how to read the music accurately and follow the score carefully, only to tell them they can perform it either the way it's written or, if they prefer, any old way they please?

Case in point -- last spring one of my 8 year old beginners performed a little piece called "A 16th Century March" at the local festival. It's very cute piece, very short, very popular with the kids.

The March tempo is clearly marked at the top of the score: quarter note = MM at 120 (metronome speed). That tempo works perfectly for the march style, and it's easy to handle for the kids too. My student had practiced diligently with the metronome -- his timing was perfect, and he knew that little piece inside out.

Did a wonderful job at the festival - no slips, perfect memory, dynamics and timing were awesome, and his individual interpretation/feelings did come through like a charm as he played. He did me proud -- some artistry, for an 8 year old I thought!

But when the adjudicator stood up to talk to the kids and give out the marks/awards, she told him he should have played it twice as fast! A little more work on appropriate style and tempo and you'll have a great piece, she said.

And then proceeded to give him one of the lowest marks in that class. He was crestfallen, nad I was, uh, quite QUITE upset! I knew he'd played that piece at precisely the tempo indicated by the editor on the written score - which IS indeed, a march tempo! And perfectly 'in style' with that piece, imo!

So I went up to her desk and called her on it, in person, after the class was over. I showed her the tempo indication on the music -- MM at 120. I demonstrated that tempo to her, marching with my feet left, right, left, right. Yes, that's a perfect march tempo! Then I doubled it as she'd instructed my student to do --- leftrightleftright -- it was ridiculous!

That wasn't a march, it was running on the spot!!

Well, she said patronizingly, this is a 16th Century March. They did everything MUCH differently in that day and age. Oh, really, I said? That's news to me! What, people marched THAT quickly in the 16th century? In those 2-ton suits of armour, no less?

What were they, human being or ants, pray tell?!?

ANd besides, if the kids are to play it at 240 not 120, why isn't it MARKED as 240 on the score? Am I supposed to teach my students to follow the score, or not?

Well, she said, shifting uncomfortably and patting at her hair, I KNOW Mr. So-and-so and Ms So-and-so, the editors of this piece. They are my personal friends -- I work with them at the Glenn Gould Professional School at the Royal Conservatory. They are my colleagues.

Well, at that point my blood was boiling. But instead of yelling "IS THAT SUPPOSED TO IMPRESS ME? WELL, IT DOESN'T!!!" at her, I just turned around and walked out. The adjudicator's decisions and marks are final anyway; there was no point in arguing with her and obviously no room for discussion. And I didn't want to risk her penalizing the rest of my students for the duration of the festival, just because I dared to take her to task on her so-called 'educated' (but musically ridiculous imo!) tastes and opinions.

Which happened anyway.

Oh well, I warned them all the best I could    :-(

I understood her attitude better when I cooled down enough to ponder where she was coming from -- the Glenn Gould Professional School, no less. Glenn Gould is one of Canada's most famous and most eccentric pianists. He is best known for his unique interpretations of J.S. Bach's work -- for instance, he recorded every one of Bach's 2 and 3-part Inventions at least twice as fast as anyone had ever heard them before.

I remember listening to his recordings as a kid learning Bach Inventions, and I didn't like it at all. I still don't. He plays so incredibly fast you can't even hear the different parts, the imitation, and how they weave together -- it's just one big
blur. As far as I;m concerned, at that tempo the awesome complexity and beauty of Bach's work is lost -- the piece is over before the listener can even begin to appreciate it. For that reason, I've never used him as a 'role model' for my students and I probably never will.

But to each their own. Thanks for listening ...