Immerse yourself in notation - Part 1b/4

From the title, you may see that this is part 1b and not part 2 of the 4-part series on notation as I originally intended. The reason for this is because I realised I had yet more to say about the clear and logical nature of music notation versus the folly of tablature. The key realisation regarding this occurred to me during study of JS Bach's Fugue in C Major from book one of the Well Tempered Clavier:

Music notation is just intervals, rhythms and dynamics.

This is by no means any kind of groundbreaking discovery, as this is the very nature of music notation by its design - a conventional way to indicate all the necessary information of musical instruction in concise written form.

Music is comprised of three elements: Melody, harmony and rhythm - The intricacies in how intervals, rhythms and dynamics relate are what distinguishes these three elements and the degree of isolation or overlap between them in any given passage of music.

Tablature is void in expressing any of the aforementioned qualities which are vital in the most fundamental definition of music. In other words:

Tablature presents zero musical information. It reduces musical instruction to nothing but a convoluted method of hand-eye coordination.

A common insult hurled among guitarists is that somebody plays "like a robot". Now consider, isn't performing music purely by instructions on hand-eye coordination quite robotic? Music is far more than just moving your hands, music has the ability to influence people's minds and emotions. Interpreting notation will teach you by pure experience why particular music makes you think or feel a certain way according to the intervallic, rhythmic and dynamic information provided. It is the more thoughtful, emotional and "human" way to read and write music. Tablature does nothing but hinder abilities in musical interpretation and expression, effectively reducing aspiring musicians that rely on tabs to think and play robotically. 

I hope you found this article entertaining and maybe challenging. Part 2 in this series will be about the techniques on how to cultivate visual relationships and mental associations between music, notation, and musical instruments.