pster wrote:Among people who improvise music (ie those who actually compose in real time) there is unanimity about the importance of singing every note you play on your instrument. You read that right. There is nobody who disagrees. Some folks admit they are lazy and don't do it as much as they should. Moreover, many rank it as the single most important thing. By singing the notes, one learns to hear them ahead of time in one's head. And keep in mind that is for people who (for the most part) don't actually utter the notes when it comes time to actually perform.
First I misread that as sort of...singing what you play and imagined trying to sing some of the more complex jazz solos or death metal pieces and laughed. I've never heard that btw, despite going through rigorous classical training when younger and having met several such musicians before absconding to the dark side. You know, where they can actually play as in improvise and compose not just sight read. That being jazz, metal etc. I mean we're expected some familiarity with sung notes within a few registers but in order for me to reproduce every sound on a guitar I'd have to be a decent singer. Pianists tend to be, sure. But not I. Anyway interesting thanks.
Anybody claiming that speaking methods are not the best for a language needs to explain why language is so different from music despite its possessing most of the properties of music, such as rhythm, pitch, similar phrase lengths, etc, and an overlapping history in poetry.
Again, interesting, but I think you're mixing up things here. Obviously value is placed on vocalising and so on, whether reading along to prose or metre, but the question is one of whether a communicative approach is worth while. Which actually has a lot of its own problems and questions.