Humming Along - Some Clarification

[Sean Malone <spm29386@oregon.uoregon.edu>]

Hello Everyone,

    I'm glad to see this topic has started some conversation. I need to make
a few points, because I'm beginning to see some claims here and there which
have little to do with what I'm trying to discover, and are seemingly being
tied with my original post.


1. Whatever the result of the transcriptions, the main purpose is to draw a
clearer picture with regard to how the musical mind works. Because these
sounds are made when he is performing, there are very unique because they
are in "real time", and differ between different performances of the same
piece. He does not always sing a different part, but he often changes voices
in very odd places which is more food for thought.

2. To hear the humming better, I EQ the recordings to bring out the humming,
it is otherwise very difficult to hear. The best sources are the Chemins de
la Musique videos (and videos in general) and the practice tapes of him at
home.

3. I'm not trying to conclude, in any specific way, exactly what he was
thinking as he was playing. Mainly because that's impossible to do, and
secondly because I can't conceive of what useful purpose that would serve.
Instead, we have some extraordinary "evidence" of Gould's insight to
particular compositions. I believe strongly that by examining these things,
we help to reveal a level of musical genius that has yet to be ascribed to
Gould (though he is deserving), helps to disseminate his legacy, help to
understand his approach to performance and music in general (i.e. Why he
played Bach as he did) and may reveal insight into cognition and how the
musical mind works.

4. I believe that Gould's intense intellect, as well as his social isolation
(even when he was touring) all helped in molding these characteristics. The
irony is this: Many view Gould as a completely isolated and solitary figure,
who did not reveal himself to many people. But watch him play - you are
witness to the most intimate source of his passion, to the point where it is
almost uncomfortable to watch. The humming and conducting bubble up from
deep inside of him - the piano could not keep up with his need to express
ideas. His entire body brings the music to life. Imagine the skill involved
in just being able to perform the way he did...then add the singing, then
the conducting...are you beginning to see the bigger picture? This man was
working at a level that few people have ever attained, and I strongly
believe that this is why his understanding and performances of Bach's music
are so important; there was no barrier between him and the music, it was an
unimaginable union.

5. There are those who think the only thing more odd than the humming
itself, is transcribing the humming. I would propose that anyone who thinks
I'm just transcribing humming is largely missing the point.

6. Since there is no way to objectively quantify the results of this study,
it's important to realize that the intensity expressed in Gould flailing his
arms about may be no different than when Horowitz raises en eyebrow. The
point is that *something* is going on underneath at all, and GG's humming
during tonal music is a kind of "trail of bread crumbs."

7. As with any internet mailing list, please consider discuss ideas so that
we might all learn from it, rather than trying to otherwise 'prove'
something as being 'wrong' or 'right'.

Sincerely,
Sean Malone