Purely for the Ear
UCH of the spoken material we hear on the air would be more easily and completely absorbed from the printed page, and this print-complex is reflected in many programme titlesCountrywoman’s Magazine, Music Magazine, and titles of the Notebook, Album, Snapshot, or eéven Parade variety. All these have reference to the eye, rather than the ear, in their acquired, if not in their origina] meanings. Nevertheless, it was in one of these programmes, the latest number of Music Magazine, that excellent use of purely auditory material was made, giving us something that could not have been given as well in any other way, First, Layton Ring spoke about the music of Byrd, illustrating on the harpsichord the differences between the music as written, and as performed with suitable ornamentation intended by the composer. Then Maurice Clare, having
spoken about the earlier curved bow for the violin, played a fragment of a Bach Partita, with each bow in turn, to illustrate, his remarks. Yet this part of the programme was marred by Maurice Clare’s extremely hesitant speech. Was he ‘speaking without a script, and if so, why? There is stil] the taint of amateuristn about some of our best programmes that we. the listeners, could well do without.
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19530925.2.21.5
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New Zealand Listener, Volume 29, Issue 741, 25 September 1953, Page 10
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210Purely for the Ear New Zealand Listener, Volume 29, Issue 741, 25 September 1953, Page 10
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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