Isabelle wrote:
vtyc> I can see value in being able to sight-read in
vtyc> situations where the music has never been recorded,
vtyc> i.e. new music. But this music is often terribly
vtyc> difficult to read because of atonality, odd intervals,
vtyc> etc. Another useful situation might be when learning
vtyc> a piece on tremendously short notice -- but, again, it
vtyc> is so much more time-efficient for a singer with a
vtyc> good, quick ear (as most singers have) to listen
vtyc> through a couple of times and then have it.
I'd like to point out that recordings often have wrong notes in them!
I have, several times, listened to recordings of difficult pieces
which I was in the process of learning and realized that the performer
sang wrong notes and/or rhythms. It is my ability to look at a score
and know what the notes ought to sound like, and my ability to double
check that against a piano, which serves me best. Recordings are
helpful for overall context, especially when I am away from my
accompanist, and for stylistic ideas, but I don't rely on them that
much until I already know the piece well.
Vicki Bryant
Naperville, IL
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