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Excerpt from technical paper on note/pitch production and recognition. It ain't just good aim.
Int'l Conf. at U. of Bologna, 2006
Honorary tenured advisor
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I'm glad thats just a postulation. I would be depressed if that were fact.
Yeah. It's the "audiation" part that bothers me.
If I knew how the music was supposed to sound before I played it, that would spoil the surprise !
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Oliver, you must love driving fast around winding roads, lol.
I wish I knew what all of that meant, because it sounds insightful and sublime, but I don't get it.
It's not that bad .......
The man said........it is best to know how a note should sound so that there can be an accurate judgement, or correction, as needed ( i.e. mental vs. emitted pitch ).
"Kinaesthetic", I believe is all the motor skills needed to play a violin. (My personal guess is that violin playing is 60% acrobatic)
One very respected guru and teacher has his students learn their important pieces BEFORE ever attempting the piece on a violin !! That, I think, is "audiation".
Of course, the accuracy of mental vs. emitted pitch defines important talent for a violin player ( see also FM intonation game ).
One does not have to understand any of this to play but the violin itself has rules and takes no prisoners.
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