At 9:13 AM 12/19/99 -0800, Amy Ione wrote:
>While there has been limited work in this area, brain scans have shown that
>it appears a painter would do the same. For example, one recent study
>demonstrated there appear to be differences in the neurological structures
>and processes when we compare an experienced painter with novices.
Differences between experienced (even professionals) listeners and novices
are commonplace in the psychology of music, including the neuropsychology.
There is nothing surprising about this.
In the verbal sphere, I wonder if anyone has specifically investigated the
language capabilities and responses of language professionals (journalists,
poets, etc.) vs. people with no special focus on language.
>
>One final thought. There was recently a show at the Berkeley Art Museum on
>Indian art. One section included ragamala paintings. Ragamalo means 'a
>garland of musical modes' in Sanskrit and the idea is that a ragamalo is a
>collection of melodies. Actually raga means something that colors the mind
>with a particular feeling or emotion. Anyway, these paintings have musical
>themes and are said to illustrate poetry. As I understand it, these kinds
>of paintings actually help instruct musicians on the mood of a piece and the
>notes they should use to play. I believe classical music in India was
>(perhaps is?) improvised by the musicians who perform it rather than
>composed and written down in advance of being played.
Yes, it was, and still is, improvised. Melodic improvisation is based on a
_raga_, which is a set of characteristic pitches and ornamentations. There
are hundreds of ragas and, as you indicate, they are said to be
mood-specific. The rhythm is based on a _talus_, which is a pattern of
accents. To perform one must thus perform a particular raga with a
particular talus.
William L. Benzon 201.217.1010
708 Jersey Ave. Apt. 2A bbenzon@mindspring.com
Jersey City, NJ 07302 USA http://www.newsavanna.com/wlb/
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