notative forms to speak different languages. All languages contain these variations and reinforce the need for striving toward understanding a basically generic language. It would be very difficult to speak to a non-English speaking person and clearly convey a message unless both persons were familiar with basic terminology. It would be just as unlikely to communicate a musical message to someone not educated or interested in musical interpretation.The term music in itself has many different connotations. One in the United States may not have the same perceptions as one whose origin is France or Australia, or elsewhere in the world. In my travels through Europe and South America I had a hard time finding any truly original, locally produced music. The majority of the music I searched through were also popular in the United States. It was very easy to find foreigners singing an American song using their interpretation of our language. The entire world seems to be able to communicate with music and seems to understand it enough to share their own musical interpretation. Music is a language of it's own and depending on how we speak it, it too can accomplish a multitude of results. People are no more able to understand a foreign language without education than they are to understand the unspoken language of music without proper musical education. A single score of music interpreted with a few of many available musical directions can tell as many stories as there are variations. For example, playing Cristofori's Dream by David Lanz entirely lento-pianisimo (slow and very soft), creates a very peaceful and tranquil mood. Played again allegro-forte (lively, brisk, and loud), emits an uplifting feeling. Yet, by using both interpretations progressively and regressively within this identical musical score, one could feel depleted and elated in the same timeframe. This is perhaps the most ascribable reason to pursue a knowledge of m...
