Although conscious that I’ve been more fortunate than many in my experience of the pandemic so far, I also know that I’ve been feeling less stressed due to less rushing around, but also more withdrawn and introverted. In other words, from a theoretical perspective, there is every possibility that at least some of us will have been left changed by lockdown.Īnecdotal evidence seems to suggest the same. Instead they continue to evolve through life and in response to major life events. Research over the last few decades, however, has led to a consensus that, while personality traits are relatively stable, they are not completely fixed. The age when our personality changes the mostįor much of psychology’s history, personality – the set of enduring habits of behaviour, emotion and thought that form each person’s unique identity – was considered set in stone, at least beyond early adulthood.How Covid-19 is changing the world’s children.Will this strange time have left its mark on us, not just superficially, but deep down? As we venture out tentatively, do we do so with our personalities somehow altered? And if so, how will our new selves cope as we begin to mix and travel once again? Whichever way the lockdown played out, there has been one near universal aspect to the past months – it abruptly disrupted our daily routines and living arrangements in ways that would not normally occur. Some saw it as a positive experience – a welcome opportunity to slow down, go for walks and relax with a loving partner, or enjoy quality time with the children. Some people were forced into months of unbroken solitude, others trapped for weeks on end with an estranged spouse. See Threnody for a good example.There wasn’t just one lockdown – we all had our own experience. Even the simplest monophonic folk song can never be transcribed in perfect detail, while the most complex music possible can be notated in any number of methods, depending on the level of detail desired. This may be a surprise considering that they're both pieces for percussion:Īnd a piece that I hope to perform one day (here pitch level, form, and syllable are important, but rhythm is less rigid): Note the absence of meter in both pieces, rather the focus is on the way the layers interlock. Here I add some slightly more conventional examples, though Threnody is such a cool piece that I doubt I can even come close to such a cool example. An good transcription can use this information from the composer to help others perform the piece as the composer intended. Even in non-western music cultures that don't have written notation systems, there is still a method of communicating important elements to other musicians. In any case, watching the performer can make it easier to see the technique used, which will make pitches and rhythms easier to render accurately.įinally, composers can usually tell performers what is important about a piece. In transcriptions, I've seen "undecipherable" with a rough sketch if one or more of the elements cannot be distinguished (usually pitches). A faithful transcription can give a sketch of whatever the important elements for that segment are - the minimum a performer would need to render it accurately.
If either of these is impossible to notate because it is obscured by effects, chances are that element isn't the most important thing for that passage. Transcription focuses on what the composer or transcriber deems most important in the score. Most conventional music makes a trade off between detail and legibility, with things like tempo, phrasing, and articulation rendered by general, fairly ambiguous symbols. Transcription is just making music so that it can be communicated visually to another musician. To build on NReilingh's great answer, anything* is transcribable.
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