Message-Id: <19981006162634.26650.rocketmail@attach1.rocketmail.com>
Date: Tue, 6 Oct 1998 09:26:34 -0700 (PDT)
From: Russell Gilman-Hunt <conchobar@rocketmail.com>
Subject: minstrel: Re: "bardic competitions" (that ongoing discussion)
To: minstrel@rt.com
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(Me, HL Conchobar Mac Muirchertaig, WOAW, butting into a discussion
between Master Fredrick and Mistress Arlys *with a big cheesy grin*)

A:
>Must be the tradition where you are. Here it's expected. Even if 
>someone waves the aforementioned Oxford at me and says "We're gonna doa
>madrigal from this," I still expect them to tell me more than just
thesource,
>>even though I've worked intimately with the Oxford for 17 years. Is 
>it a true madrigal? A ballet? A canzonet? What makes a madrigal? etc.>
>
F:
>   This is not the competitor teaching you _or_ you teaching the 
>competitor. This is just a requirement for extreme documentation.
>  This is also (imho) entirely too picky for words and an excellent
>reason to go off in the corner away from the competitionand sing filk
(just for the contrast).
A:And this is where you and I part ways (i can always count on you for
an
interesting debate! :-) ) How is it "too picky"? The forms aredifferent.
The construction is different. If you're going to do formal music, know
what it's about!

I agree with Arlys.  If you plan to "do" a sonnet, know the difference
between Spenserian, Italian, etc.  Say "This is a Spenserian Sonnet
form from the 16th century"  *caveat: I'm Irish.  A sonnet is a later
period form, that I am using as an example because I'm pretty sure we
all know more or less what a sonnet is.  But I don't recall the three
different types, and I only vaguely remember that the difference has 
to do with the rhyme scheme.*

It only takes a moment to let people know you've done a minimal amount
of looking into a form.  I think the same applies to Arlys's example...
"I'm doing a madrigal from this book, it's actually a ballet, and it's
from the XX'th century."  

===
Conchobar


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