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loudog Heavyweight Member
Joined: 23 Nov 2001 Posts: 1442 Location: Hastings, NE
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Posted: Sun Jan 25, 2015 4:12 pm Post subject: Psychology |
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Hey all,
Does anybody know if there are any writings or research on Carmine Caruso's psychological approach to making music?
Thanks,
Louie _________________ -----------------------------------------------------------------
Dr. Louie Eckhardt, trumpeter
http://www.LouieEckhardt.com
Associate Professor of Music
Hastings College |
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TrpPro Heavyweight Member
Joined: 12 Jan 2006 Posts: 1471 Location: Riverview, FL
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Posted: Sun Jan 25, 2015 7:22 pm Post subject: |
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CC didn't teach music. He taught mechanics... what he referred to as "pre music."
He was always, always positive... never negative.
Also, I believe, psychologically speaking, the essence of his approach to teaching the student how to produce all the necessary sounds, articulations and dynamics on the trumpet (in order to make music) was the way he designed exercises that would make it virtually impossible for the student to ever think about what he is doing with his lips, air, tongue, corners, diaphragm, horn angle, etc. |
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gstump Heavyweight Member
Joined: 14 Nov 2006 Posts: 934
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Posted: Mon Jan 26, 2015 5:52 am Post subject: |
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I do not think so. Great thesis subject,no? The neuroscience of music is fascinating and quite frankly, the experts still do not really know what the hell is going on.
- For one, we seem to be wired up with a pentatonic scale.
- Why is a high tessiturra more exciting than soft low passages.
- Why is minor sad?
-Why is the last concert F in the US National Anthem more "important" than the concert F in the bridge.
-and so on..............
But to bring this back home, I agree with TrpPro. Besides getting all worked up about equipment and bolt on accessories for the trumpet, many trumpet players get obsessed with the analytics.
Mr. Caruso saw many walking wounded pro players come to him from the many road bands all messed up. He once told me about all the different ways these players would manipulate the lips to play. When there are thousands of people in the audience and you are the featured act you will play the note whatever way you can. Twist, push, over pivot, roll in, roll out, roll over, play dead, slide side to side, what ever!
Caruso's method removes all the "thinking" of our over engineered trumpet players. It also attempts to limit the manipulation of the lips and organize whatever one does to change pitches.
Best of luck. I think you are on to something!
Gordon Stump
ps. Schossberg used psychology in the way he approached the higher notes in his studies. He often put them not on a downbeat so as to remove the "importance" of the note. That is the way I write my stuff. _________________ Schilke B5
Couesnon Flug (1967)
Funk Brothers Horn Section/Caruso Student |
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StupidBrassObsession Heavyweight Member
Joined: 25 Mar 2012 Posts: 1014
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Posted: Wed Apr 15, 2015 10:37 pm Post subject: |
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Quote: | The neuroscience of music is fascinating and quite frankly, the experts still do not really know what the hell is going on.
- For one, we seem to be wired up with a pentatonic scale.
- Why is a high tessiturra more exciting than soft low passages.
- Why is minor sad?
-Why is the last concert F in the US National Anthem more "important" than the concert F in the bridge.
-and so on.............. |
Well, there's a lot of musicology research and we have answers to some of those questions.
The reason it's often a quagmire is that it's different in different cultures. There's not a 'universal' response to music.
The easy answer is really that we are exposed very frequently to our culture's music everyday, and we have learned the idioms and tendencies and the implications etc.
It's like if you overhear a conversation in another language you can often get a feel for the 'vibe' of the conversation, if not the meaning, by the cadence of the speech. A lot of that inflection gets transferred into our music making or music listening. But mostly it's just we've learned he conventions.
Anyway... Still an interesting question... |
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