* Snidely:
Maybe I am. Not because I assume everyone thinks the same as me,
but in this case, I assumed everyone had read everything I had
written, and either agreed or they would have voiced their
disagreement,
I had repeatedly stated that I don't consider the "tum" to be part
of the Hebrew text, so when I wrote "For an authentic
pronunciation *of the Hebrew*", that meant to me "the text apart
from the 'tum's." And I was making the point that for those parts,
the recording is more useful to me than written Hebrew, which I
don't know how to read or pronounce.
As I wrote in a separate answer, the notes marked "tum" in the
choral score are played on the piano in the Plitmann recording.
Additional support for my "quasi-instrumental accompaniment"
interpretation.
Sorry for too much detail. It's an old habit of mine, analyzing
why communication fails. I remember doing that at least as far
back as 5th grade with conversations between others: "Listen, you
two talk at cross-purposes because *you* use the word X to mean
/this/, but *you* think it means /that/. I'm not convinced that
you're actually disagreeing." I also soon learned that this kind
of interference is not always welcome, but it's playing in my head
all the time.
>>> Someone -- was it you? -- gave an ambiguously uninterpretable respelling.
>>
>> No idea what you mean. More indications you're not paying
>> attention.
>
> He means that using alternate orthography rather than IPA or AIPA
> doesn't clarify pronunciation.
But how would anyone assume that this comes from me? Even if one
wasn't aware that "tuhm" was quoted from the printed music score,
the whole point of the thread is me asking about the meaning of
this respelling.
--
There are two ways of constructing a software design. One way is
to make it so simple that there are obviously no deficiencies.
And the other way is to make it so complicated that there are no
obvious deficiencies. The first method is far more difficult.
-- C. A. R. Hoare