Re: Pitch learning

[Ju-Lee Hong <jl.hong@xxxxxxxxxx>]

> A deep understanding of the musical creativity and artistic
> expression will come from appreciating the foreground.

I think your argument derives from a Schenkerian sense, which
nonetheless isn't the only way! to experience music, especially in
performance: I am talking about Western-art music here. I don't know
the ethnomusicology well enough to comment any further.

Ju-Lee

On Fri, March 2, 2007 7:39 pm, Linda Seltzer said:
> I am going to use some terms from musical analysis in a nonstandard
> way. I am using these terms as musical terms and not as technical
> terms in the field of psychology or perception, because I do not
> know whether or how this paradigm is matched to perception.  With
> respect to musical form we speak of background and foreground.
> Using such terms in this discussion,
> one could state that the presence of perfect fourths and fifths and
> other intervals of just intonation are in the background.  The
> deviations in intonation are in the foreground.  It's obvious that
> many cultures rely on some exact ratio intervals.  A deep
> understanding of the musical creativity and artistic expression will
> come from appreciating the foreground.  Too many ethnomusicologists
> in the old days reduced non-Western melodies to Western scales and
> even Western notation, and the result was that non-Western musics
> seemed primitive.  An inexact "octave" expresses something different
> from an ocave.



-- 
Ju-Lee Hong
PhD Student, Department of Music
Goldsmiths, University of London

email: jl.hong@xxxxxxxxxx
phone: +44 (0)7960 810775