Re: Pitch learning (Ju-Lee Hong )


Subject: Re: Pitch learning
From:    Ju-Lee Hong  <jl.hong@xxxxxxxx>
Date:    Fri, 2 Mar 2007 20:29:51 -0000
List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>

> 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@xxxxxxxx phone: +44 (0)7960 810775


This message came from the mail archive
http://www.auditory.org/postings/2007/
maintained by:
DAn Ellis <dpwe@ee.columbia.edu>
Electrical Engineering Dept., Columbia University