AboutClare Redfarn Expertise All aspects of the academic/theoretical side of music, including harmony, counterpoint, elementary composition, history, harmonic analysis, aural training, sightreading - the lot! Please note: I'm neither a professional composer nor a singing teacher.
Experience 49 years as pianist (professional soloist and accompanist); 34 years as harpsichordist (professional soloist and continuist); 10 years as violinist and 6 years as bassoonist (youth orchestras/chamber groups); 36 years as piano teacher, coach in performance/interpretation (all ages, instruments and levels) and private tutor (mainly the old O'level, Grade VI+ ABRSM theory/practical musicianship, A'level and undergraduates).
Organizations I've been a member of the Musicians' Union in Britain since 1978.
Publications I've written many programme notes and a few articles for an online magazine. During the '90s I was also a Music Assessor for London Arts and as such regularly wrote critiques of concerts given by recipients of Arts Council funding.
Education/Credentials MA in European Cultural Policy & Administration (Warwick University, 1994)
B Mus with Honours (London University, 1977)
Postgraduate Diploma in Arts Administration (City University, 1982)
Licentiate of Royal Academy of Music in Piano Teaching (1976)
Licentiate of Royal Academy of Music in Harpsichord Teaching (1978)
Studied RAM Junior School (1966-74), then as full-time student (1974-78).
Question Dear Clare Redfarn,
Thank you for spending so much time in replying to my question.The following information might help you to understand my doubts.over the last one year I have understood the concepts of music such as
1. Scales. Major, Minor[melodic harmonic gypsie etc.,]and the history of evolution of their discovery and construction.The controversies in accepting a standard of frequecies for the tuning of instruments such as the piano.
2. Modes and their origin.
3. The concept of chord and triads based on the understanding of overtones.[Root +3+5] and the extentions.
4.chordal progression and modulation of melodic line based on Circle of fifths.
5.Creation of motifs ,linking them to produce a phrase, after phrase types, their contours and the cadences.
I presume I had some sort of Gods gift to recognise the chord even if it was a diminhed, 13th etc.As a child of 7 I could feel that San Antanio Rose was different from other songs.I hated classical western. Retrospectively I realise it was because my neighbour was using the pre electrical days equipment.
Recently ,a year ago, I browsed the net to prepare for a research on"what are the biological effect of musical intervals" and only wanted to know the frequencies of tones. C..F..and G.and why Tonic,subdominat followed by Dominat and especially the seventh of V is so pleasing as a cadence material.Thats how I have become addicted to this new hobby of wanting to to know the why of what I understand of music.The amount of material is mind boggling.I gave up the idea of research as most of it ,if not all, have been explained.
Listening to classical Indian music as the first experience could be discouraging.very much like listening to Mile Davies or Stanley Jordan .
Simple songs like Fur Elise or Vivaldi"s Four Seasons , I have noticed , has worked wonders in keeping the listener interested in western music.Some even had felt [on the first exposure] that western musuc was Atonal and cacaphonic.I am happy I do not have a collection of dodacophonic music.
I feel that listening to lighter songs based on Ragas, usually best in Old Tamil films, would help.I was amazed to hear so many chordal progressions including the use of diminished ,and altered chords.
That is why I need tips on construction of motif which is the building block of a tune based on a mode eg Dorian. Lydian Myxolydian etc.,
I was interested to know the actual physics of sounds to know how the brain is able to identify the inversions on hearing.I did well in this in my exams in 1987.I suppose it was 6th grade.
Once again I request you to give your mailing address, if permitted asI would like to send some listening material.Once again thanking you. David
Answer It's no good, David, you've lost me. I've just read the Wikipedia article on "psychoacoustics" twice to try to understand what on earth you're talking about, and I still don't have a clue. What has any of this claptrap got to do with music? It's like saying that understanding the physical processes that the tongue and throat go through when swallowing will help explain why I prefer chocolate ice-cream to strawberry.
I know I teach harmonic analysis but you can take the whole thing too far, you know <g>. Not everything in the world can be explained away, particularly an art form whose very nature derives from heightened emotional response and whose only reason for existing is to produce such a response. Why did the civilisation encompassing I don't know how many different European countries/languages/races collectively agree to divide its octave into 12 notes whereas the civilisation encompassing the entire Indian subcontinent containing similar linguistic and racial diversity collective agree to divide its octave into something completely different? We have no idea and we never will. It happened. Live with it.
I won't post my private details on this forum but if you'd like to give me your e-address I'll get back to you. I'll be happy to listen to your tape but I don't know what you expect me to be able to do.
(I really, REALLY hope the next question I'm sent is something easy like "what's a tierce de picardie"? I'm a musician, not a psychologist and I can't explain the workings of the universe <g>.)
