Re: AUDITORY Digest - 21 Jan 2003 to 22 Jan 2003 (#2003-17)

[ARGIRO VATAKIS <avatakis@xxxxxxxxx>]

To anyone that can help me out....i am a graduate student and i am currently
conducting research in Auditory Perception....i love this stuff and i am
interested in participating in an internship or any kind of research
involvement during the summer....can anybody help me out....any leads?
thank you
argiro vatakis
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Sent: Wednesday, January 22, 2003 9:00 PM
Subject: AUDITORY Digest - 21 Jan 2003 to 22 Jan 2003 (#2003-17)


> There is one message totalling 55 lines in this issue.
>
> Topics of the day:
>
>   1. The Bach choral dilemma
>
> ----------------------------------------------------------------------
>
> Date:    Wed, 22 Jan 2003 21:03:55 -0500
> From:    Luc Rousseau <LRousseau@NICKEL.LAURENTIAN.CA>
> Subject: The Bach choral dilemma
>
> Dear Auditory Listers,
>
> Listening carefully to BWV 363 (Jesus Christus, unser Heiland), or BWV
> 364 (Jesus Christus, unser Heiland, der den Tod), I hardly hear it
> streaming, if streaming at all.  Same for my Sensation & Perception
> class.
>
> A collegue of mine, who owns a huge collection of Baroque music, told me
> that BWV 363 is not a so good instance of polyphonic music.  So why
> Bruce Goldstein presents it as such in his Sensation & Perception
> textbook? (4th ed., 1996, p. 397; 5th ed., 1999, p. 360)
>
> The author provides a musical notation in Figure 12.11 (p. 360): four
> measures of (what is probably, according to title) BWV 363.  The notes
> clearly stream (VISUALLY, I mean).  I am not a musician, but the musical
> notation seems to me quite simple for a so complex musical piece.  Can
> someone confirm that the notation is the original?
>
> Goldstein notes: "When this passage is played rapidly, the low notes
> sound as if they are a melody played by one instrument, and the high
> notes sound like a different melody played by another instrument.  This
> effect [...] is an example of auditory stream segregation [...]." (p.
> 360).  First, BWV 363 is refered to as an instrumental piece, while the
> only instrument is the human voice (choral).  The fact that the human
> voice is also a musical instrument should probably be emphasized to
> musically naive students.  Secondly -- and more critically --, why
> whould we have to play it rapidly, while the composer's intent was to
> provide a polyphonic experience at the written tempo?
>
> An e-mail sent to the author at bruceg+@pitt-edu on Nov. 30, 2001, has
> not been answered yet.
>
> A legal (30 sec.) excerpt of BWV 363 may probably be made available on
> the Auditory List Home Page, if someone can provide it.  Are more
> salient examples of Baroque polyphony known?
>
> I have a great respect for Goldstein's S&P textbook, and I hope Auditory
> Listers will provide clues into (what my S&P class and I are now
> refering to as) the Bach choral dilemma.
>
> Luc Rousseau, Ph.D.
> Assistant Professor
> Department of Psychology
> Laurentian University
> Sudbury, Ontario, Canada
>
> ------------------------------
>
> End of AUDITORY Digest - 21 Jan 2003 to 22 Jan 2003 (#2003-17)
> **************************************************************