(Pierre Divenyi )

Subject: 
From:    Pierre Divenyi  <marva4!pdivenyi(at)UCDAVIS.EDU>
Date:    Wed, 12 May 1993 11:29:41 PDT

ucdavis!auditory(at)vm1.mcgill.ca
Subject: Re:  streaming of melodic patterns with high level cues?

Greg,

Although I know of no experimental work in this area
(other than Dave Wessel's classic two-timbre streaming
demonstration), the music literature is replete
with timbre/loudness streaming.

A timbre streaming example of choice is the much-cited
Bach Prelude from the E-major Violin Partita: In
Measure 3 the weak-beat high E's and the strong-beat
lower diatonic motive are segregated not only
as a result of pitch streaming, but also because
of timbre differences due to up-down bowing.
(These timbre differences are very easy to hear.)
More elaborate bowing-bound two-timbre games can
be found at several spots in the Bartok Violin Solosonata
(to stick to that instrument).

As to loudness streaming, two examples come to mind.
First is a couple of Mozart Piano Sonata slow movements
(e.g., K281 and K457) where you find "p"-"f"-"p"-"f" (or 0-"sfz"-0-"sfz",
where 0 is "none") markings on adjacent notes of a
diatonic scale motive, with the accent on the weak beat.
The second is from late Beethoven Piano Sonatas (op. 106 and 110),
with slurs tying pairs of identical notes. According to
the Viennese tradition, the slurs do not mean "hold the
note, don't play the second", but "Bebungen" (="quakes")
-- i.e., (slow) back-and-forth motions on the note,
resulting in a > < > < ... intensity pattern and, yes,
two streams.

If in doubt, just keep asking those good dead people, they
have tons of examples indicating that they are always ready
to answer any question of this sort that may hit you...

All best wishes,
        Pierre Divenyi