Subject: Re: [AUDITORY] Offstage instruments From: Moritz Klingel <mklingel@xxxxxxxx> Date: Thu, 21 Sep 2017 17:12:57 +0200 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>This is a multi-part message in MIME format. --------------F3CCBDEF95AC757D7300BFD6 Content-Type: text/plain; charset=utf-8; format=flowed Content-Transfer-Encoding: quoted-printable X-MIME-Autoconverted: from 8bit to quoted-printable by edgeum2.it.mcgill.ca id v8LFCx9F028378 In the russian opera "Khovanshchina" from Modest Mussorgsky there are=20 also offstage trumpets and depending on the version other brass=20 instruments. Moritz Am 18.09.2017 um 11:38 schrieb Roger Watt: > > Some more brass ones: > > Berlioz Requiem: 4 offstage brass groups > > Lohengrin act 2 has 2 pairs of tpts; one pair on the stage and one=20 > pair off. > > Verdi Otello & Simon Boccanegra: off stage tpts > > Then we blur things a bit: > > Siegried act 2 horn-call played off stage and the singer mimes on stage > > Gotterdammerung act 2 has steer-horns also played off-stage and mimed=20 > on stage > > Tristan act 3 has offstage alpen-horn (often covered by cor anglais) > > Practically every Verdi opera has a banda that starts off-stage,=20 > crosses the stage and marches off again > > Also two more marginal ones: > > Monteverdi Vespers: thought (by some) to have been designed for=20 > off-stage musicians > > Britten War Requiem has 2 orchestras, one of which might be thought of=20 > as off-stage > > As a side note there are interesting and difficult issues of playing=20 > (at least the trumpet) off-stage. The sound comes across very flat and=20 > of course late: so you have to play very sharp and also early. Getting=20 > that right is tricky and I suspect that both can only be got properly=20 > right for listeners at some specific place. > > R > > *From:*AUDITORY - Research in Auditory Perception=20 > [mailto:AUDITORY@xxxxxxxx *On Behalf Of *Ian Cross > *Sent:* 18 September 2017 10:07 > *To:* AUDITORY@xxxxxxxx > *Subject:* Re: Offstage instruments > > There's an offstage guitar in Berlioz's */B=C3=A9atrice et B=C3=A9n=C3=A9= dict/* which=20 > later appears again from the orchestra pit. > > Best, > > Ian Cross > > On 17/09/2017 22:27, Renee Timmers wrote: > > In Gluck's Orfeo ed Euridice, 2 chalumeaus and a few strings are > playing off stage. > > I have not checked this information, but have been told by a > professional musician, who I asked about this. > > Best, > > Renee > > On Sun, 17 Sep 2017 at 05:46, Arun Chandra <arunc@xxxxxxxx > <mailto:arunc@xxxxxxxx>> wrote: > > I'm glad that people mentioned Mahler symphonies, but there's > also his > very first orchestral composition "Das Klagende Lied", which > has an > entire orchestra and chorus offstage. > > And his 2nd symphony, in addition to having instruments > offstage, also > has an offstage chorus. > > arun > > On 9/16/17 9:16 AM, Jonathan Berger wrote: > > and on a very different note - Turandot which has saxophone > and organ > > backstage - an amazing timbre effect. > > - jonathan > > > > --- > > Jonathan Berger > > The Denning Family Provostial Professor in Music > > Bass University Fellow in Undergraduate Education > > Stanford University > > > > http://jonathanberger.net > > > > On 2017-09-15 11:06, Pierre Divenyi wrote: > >> I would definitely add John Cage's_ __4'33" ._ > >> > >> Pierre Divenyi > >> > >> On 9/15/17 1:02 AM, Victor Rosi wrote: > >> > >>> Mahler's 1st symphony : Offstage trumpets in the first > movement > >>> Mahler's 2nd symphony : Offstage brass ensemble (horns, > trumpets) > >>> and timpani in the last movement > >>> Alpen sinfonie (R. Strauss) : Horn ensemble in the third > part (The > >>> Ascent /Der Anstieg) > >>> > >>> You also have this kind of effects in Opera's such as Madam= a > >>> Butterfly (G. Puccini) : in the second Act "Coro a bocca > chiusa" > >>> there is a viola d'amore playing with a choir offstage. > >>> > >>> I hope I helped, i'll try to find other examples. > >>> > >>> Good luck and keep us updated ! > >>> > >>> Victor ROSI > >>> > >>> 2017-09-15 1:04 GMT+02:00 Niels Christian Hansen > <nch@xxxxxxxx <mailto:nch@xxxxxxxx>>: > >>> > >>>> Dear collective wisdom (with apologies for cross-posting), > >>>> > >>>> For a research project at Ohio State University, School > of Music, > >>>> we are currently assembling a database of musical pieces > in which > >>>> composers call for one or more instruments to be played > >>>> "offstage". > >>>> > >>>> Classic examples from the Western symphonic repertoire > include: > >>>> (1) the offstage trumpet in Ludwig van Beethoven's Leonore > >>>> Overtures Nos. 2 & 3, (2) the offstage oboe in the third > movement > >>>> ("Sc=C3=A8ne aux champs") from Hector Berlioz' Symphonie > Fantastique, > >>>> and (3) the offstage female choir in "Neptune" from > Gustav Holst's > >>>> The Planets. > >>>> > >>>> We would be very grateful for your kind help in drawing ou= r > >>>> attention to as many other examples as possible that you > may be > >>>> aware of! > >>>> > >>>> Thanks in advance, > >>>> Niels Chr. Hansen & David Huron > >>>> > >>>> Niels Chr. Hansen (PhD, MSc, MMus) | Postdoctoral Fellow > in Music > >>>> Cognition | Cognitive and Systematic Musicology > >>>> Laboratory<http://musiccog.ohio-state.edu/ [1]> | School o= f > >>>> Music<https://music.osu.edu/ [2]> | Ohio State > >>>> University<https://www.osu.edu/ [3]> | > >>>> hansen.491@xxxxxxxx > <mailto:hansen.491@xxxxxxxx><mailto:hansen.491@xxxxxxxx > <mailto:hansen.491@xxxxxxxx>> > >> > >> > >> > >> Links: > >> ------ > >> [1] http://musiccog.ohio-state.edu/ > >> [2] https://music.osu.edu/ > >> [3] https://www.osu.edu/ > > -- > Arun Chandra > COM 308A > The Evergreen State College > Olympia, WA 98505 > office: (360) 867-6077 > email: arunc@xxxxxxxx <mailto:arunc@xxxxxxxx> > > --=20 > > Dr Renee Timmers > > Reader in Psychology of Music, Director of Graduate Studies > Department of Music, University of Sheffield > > 34 Leavygreave Road, Sheffield S3 7RD > > Director of distance learning MAs in psychology of music > <http://www.sheffield.ac.uk/music/prospective-pg/distance-learning> > > Vice President of the European Society for the Cognitive Sciences > of Music <http://www.escom.org/> > > Music Mind Machine in Sheffield > <http://www.sheffield.ac.uk/music/research/researchcentres/music-mi= nd-machine> > > Now published: Routledge Companion to Music Cognition > <https://www.routledge.com/The-Routledge-Companion-to-Music-Cogniti= on/Ashley-Timmers/p/book/9781138721050> > > > http://ukcatalogue.oup.com/product/9780199659647.do > > > > --=20 > Professor Ian Cross > Director, Centre for Music & Science > Faculty of Music > University of Cambridge > Cambridge CB3 9DP > www.cam.ac.uk/~cross <http://www.cam.ac.uk/%7Ecross> > -----------------------------------------------------------------------= - > The University achieved an overall 5 stars in the QS World University=20 > Rankings 2016/17 > The University of Stirling is a charity registered in Scotland, number=20 > SC 011159. --=20 B.Sc. Moritz Klingel Psychoacoustics & Experimental Audiology Acoustics Research Institute Austrian Academy Of Sciences Wohllebengasse 12-14 / 1 A-1040 Vienna, Austria Tel: +43 (1) 51581 2539 (Office) Tel: +43 (1) 51581 2525 (Lab) mklingel@xxxxxxxx --------------F3CCBDEF95AC757D7300BFD6 Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: quoted-printable X-MIME-Autoconverted: from 8bit to quoted-printable by edgeum2.it.mcgill.ca id v8LFCx9F028378 <html> <head> <meta http-equiv=3D"Content-Type" content=3D"text/html; charset=3Dutf= -8"> </head> <body text=3D"#000000" bgcolor=3D"#FFFFFF"> <p>In the russian opera "Khovanshchina" from Modest Mussorgsky there are also offstage trumpets and depending on the version other brass instruments. <br> <br> Moritz</p> <br> <div class=3D"moz-cite-prefix">Am 18.09.2017 um 11:38 schrieb Roger Watt:<br> </div> <blockquote type=3D"cite" cite=3D"mid:19096_1505728798_59BF991E_19096_173_1_b0f6b002c4ef44ee8cc4f73= b98c9908d@xxxxxxxx"> <meta http-equiv=3D"Content-Type" content=3D"text/html; charset=3Du= tf-8"> <meta name=3D"Generator" content=3D"Microsoft Word 15 (filtered medium)"> <!--[if !mso]><style>v\:* {behavior:url(#default#VML);} o\:* {behavior:url(#default#VML);} w\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} </style><![endif]--> <style><!-- /* Font Definitions */ @xxxxxxxx {font-family:"Cambria Math"; panose-1:2 4 5 3 5 4 6 3 2 4;} @xxxxxxxx {font-family:Calibri; panose-1:2 15 5 2 2 2 4 3 2 4;} @xxxxxxxx {font-family:Consolas; panose-1:2 11 6 9 2 2 4 3 2 4;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {margin:0cm; margin-bottom:.0001pt; font-size:12.0pt; font-family:"Times New Roman",serif; color:black;} a:link, span.MsoHyperlink {mso-style-priority:99; color:blue; text-decoration:underline;} a:visited, span.MsoHyperlinkFollowed {mso-style-priority:99; color:purple; text-decoration:underline;} pre {mso-style-priority:99; mso-style-link:"HTML Preformatted Char"; margin:0cm; margin-bottom:.0001pt; font-size:10.0pt; font-family:"Courier New"; color:black;} p.msonormal0, li.msonormal0, div.msonormal0 {mso-style-name:msonormal; mso-margin-top-alt:auto; margin-right:0cm; mso-margin-bottom-alt:auto; margin-left:0cm; font-size:12.0pt; font-family:"Times New Roman",serif; color:black;} span.HTMLPreformattedChar {mso-style-name:"HTML Preformatted Char"; mso-style-priority:99; mso-style-link:"HTML Preformatted"; font-family:"Consolas",serif; color:black;} span.EmailStyle21 {mso-style-type:personal-reply; font-family:"Calibri",sans-serif; color:windowtext;} .MsoChpDefault {mso-style-type:export-only; font-size:10.0pt;} @xxxxxxxx WordSection1 {size:612.0pt 792.0pt; margin:72.0pt 72.0pt 72.0pt 72.0pt;} div.WordSection1 {page:WordSection1;} --></style><!--[if gte mso 9]><xml> <o:shapedefaults v:ext=3D"edit" spidmax=3D"1026" /> </xml><![endif]--><!--[if gte mso 9]><xml> <o:shapelayout v:ext=3D"edit"> <o:idmap v:ext=3D"edit" data=3D"1" /> </o:shapelayout></xml><![endif]--> <div class=3D"WordSection1"> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US">Some more brass ones:<o:p></o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US"><o:p>=C2=A0</o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US">Berlioz Requiem: 4 offstage brass groups<o:p></o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US">Lohengrin act 2 has 2 pairs of tpts; one pair on the stage and one pair off.<o:p></o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US">Verdi Otello & Simon Boccanegra: off stage tpts<o:p></o:p></spa= n></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US"><o:p>=C2=A0</o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US">Then we blur things a bit:<o:p></o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US">Siegried act 2 horn-call played off stage and the singer mimes on stage<o:p></o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US">Gotterdammerung act 2 has steer-horns also played off-stage and mimed on stage<o:p></o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US">Tristan act 3 has offstage alpen-horn (often covered by cor anglais)<= o:p></o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US"><o:p>=C2=A0</o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US">Practically every Verdi opera has a banda that starts off-stage, crosses the stage and marches off again<o:p></o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US"><o:p>=C2=A0</o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US">Also two more marginal ones:<o:p></o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US">Monteverdi Vespers: thought (by some) to have been designed for off-stage musicians<o:p></o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US">Britten War Requiem has 2 orchestras, one of which might be thought of as off-stage<o:p></o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US"><o:p>=C2=A0</o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US">As a side note there are interesting and difficult issues of playing (at least the trumpet) off-stage. The sound comes across very flat and of course late: so you have to play very sharp and also early. Getting that right is tricky and I suspect that both can only be got properly right for listeners at some specific place.<o:p></o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US"><o:p>=C2=A0</o:p></span></p> <p class=3D"MsoNormal"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US">R<o:p></o:p></span></p> <p class=3D"MsoNormal"><a name=3D"_MailEndCompose" moz-do-not-send=3D"true"><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext;mso-fareast-language:EN-US"><o:p>=C2=A0</o:p></span></a></p> <span style=3D"mso-bookmark:_MailEndCompose"></span> <div> <div style=3D"border:none;border-top:solid #E1E1E1 1.0pt;padding:3.0pt 0cm 0cm 0cm"> <p class=3D"MsoNormal"><b><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext" lang=3D"EN-US">From:</span></b><span style=3D"font-size:11.0pt;font-family:"Calibri",sans-serif;colo= r:windowtext" lang=3D"EN-US"> AUDITORY - Research in Auditory Perceptio= n [<a class=3D"moz-txt-link-freetext" href=3D"mailto:AUDITO= RY@xxxxxxxx">mailto:AUDITORY@xxxxxxxx</a>] <b>On Behalf Of = </b>Ian Cross<br> <b>Sent:</b> 18 September 2017 10:07<br> <b>To:</b> <a class=3D"moz-txt-link-abbreviated" href=3D"= mailto:AUDITORY@xxxxxxxx">AUDITORY@xxxxxxxx</a><br> <b>Subject:</b> Re: Offstage instruments<o:p></o:p></span= ></p> </div> </div> <p class=3D"MsoNormal"><o:p>=C2=A0</o:p></p> <p><span style=3D"font-family:"Arial",sans-serif">There= 's an offstage guitar in Berlioz's </span><b><i>B=C3=A9atrice et B=C3=A9n=C3=A9dict</i></b> which = later appears again from the orchestra pit.<o:p></o:p></p> <p>Best,<o:p></o:p></p> <p>Ian Cross<o:p></o:p></p> <p class=3D"MsoNormal"><o:p>=C2=A0</o:p></p> <div> <p class=3D"MsoNormal">On 17/09/2017 22:27, Renee Timmers wrote= :<o:p></o:p></p> </div> <blockquote style=3D"margin-top:5.0pt;margin-bottom:5.0pt"> <div> <div> <p class=3D"MsoNormal">In Gluck's Orfeo ed Euridice, 2 chalumeaus and a few strings are playing off stage.=C2=A0= <o:p></o:p></p> </div> <div> <p class=3D"MsoNormal">I have not checked this information, but have been told by a professional musician, who I asked about this.=C2=A0<o:p></o:p></p> </div> <div> <p class=3D"MsoNormal"><o:p>=C2=A0</o:p></p> </div> <div> <p class=3D"MsoNormal">Best,<o:p></o:p></p> </div> <div> <p class=3D"MsoNormal">Renee=C2=A0<o:p></o:p></p> </div> <div> <p class=3D"MsoNormal"><o:p>=C2=A0</o:p></p> </div> <div> <div> <p class=3D"MsoNormal">On Sun, 17 Sep 2017 at 05:46, Arun Chandra <<a href=3D"mailto:arunc@xxxxxxxx" moz-do-not-send=3D"true">arunc@xxxxxxxx</a>> wrote:<o:p></o:p></p> </div> <blockquote style=3D"border:none;border-left:solid #CCCCCC 1.0pt;padding:0cm 0cm 0cm 6.0pt;margin-left:4.8pt;margin-right:0cm"> <p class=3D"MsoNormal">I'm glad that people mentioned Mahler symphonies, but there's also his<br> very first orchestral composition "Das Klagende Lied", which has an<br> entire orchestra and chorus offstage.<br> <br> And his 2nd symphony, in addition to having instruments offstage, also<br> has an offstage chorus.<br> <br> arun<br> <br> On 9/16/17 9:16 AM, Jonathan Berger wrote:<br> > and on a very different note - Turandot which has saxophone and organ<br> > backstage - an amazing timbre effect.<br> > - jonathan<br> ><br> > ---<br> > Jonathan Berger<br> > The Denning Family Provostial Professor in Music<b= r> > Bass University Fellow in Undergraduate Education<= br> > Stanford University<br> ><br> > <a href=3D"http://jonathanberger.net" target=3D"_blank" moz-do-not-send=3D"true">http://jon= athanberger.net</a><br> ><br> > On 2017-09-15 11:06, Pierre Divenyi wrote:<br> >> I would definitely add John Cage's_ __4'33" ._<br> >><br> >> Pierre Divenyi<br> >><br> >> On 9/15/17 1:02 AM, Victor Rosi wrote:<br> >><br> >>> Mahler's 1st symphony : Offstage trumpets in the first movement<br> >>> Mahler's 2nd symphony : Offstage brass ensemble (horns, trumpets)<br> >>> and timpani in the last movement<br> >>> Alpen sinfonie (R. Strauss) : Horn ensemble in the third part (The<br> >>> Ascent /Der Anstieg)<br> >>><br> >>> You also have this kind of effects in Opera's such as Madama<br> >>> Butterfly (G. Puccini) : in the second Act "Coro a bocca chiusa"<br> >>> there is a viola d'amore playing with a choir offstage.<br> >>><br> >>> I hope I helped, i'll try to find other examples.<br> >>><br> >>> Good luck and keep us updated !<br> >>><br> >>> Victor ROSI<br> >>><br> >>> 2017-09-15 1:04 GMT+02:00 Niels Christian Hansen <<a href=3D"mailto:nch@xxxxxxxx" target=3D"_blank" moz-do-not-send=3D"true">nch@xxxxxxxx= ons.dk</a>>:<br> >>><br> >>>> Dear collective wisdom (with apologies for cross-posting),<br> >>>><br> >>>> For a research project at Ohio State University, School of Music,<br> >>>> we are currently assembling a database of musical pieces in which<br> >>>> composers call for one or more instruments to be played<br> >>>> "offstage".<br> >>>><br> >>>> Classic examples from the Western symphonic repertoire include:<br> >>>> (1) the offstage trumpet in Ludwig van Beethoven's Leonore<br> >>>> Overtures Nos. 2 & 3, (2) the offstage oboe in the third movement<br> >>>> ("Sc=C3=A8ne aux champs") from Hector Berlioz' Symphonie Fantastique,<br> >>>> and (3) the offstage female choir in "Neptune" from Gustav Holst's<br> >>>> The Planets.<br> >>>><br> >>>> We would be very grateful for your kind help in drawing our<br> >>>> attention to as many other examples as possible that you may be<br> >>>> aware of!<br> >>>><br> >>>> Thanks in advance,<br> >>>> Niels Chr. Hansen & David Huron<br= > >>>><br> >>>> Niels Chr. Hansen (PhD, MSc, MMus) | Postdoctoral Fellow in Music<br> >>>> Cognition | Cognitive and Systematic Musicology<br> >>>> Laboratory<<a href=3D"http://musiccog.ohio-state.edu/" target=3D"_blank" moz-do-not-send=3D"true">http://mus= iccog.ohio-state.edu/</a> [1]> | School of<br> >>>> Music<<a href=3D"https://music.osu.edu/" target=3D"_blank" moz-do-not-send=3D"true">https://music.osu.edu/</a> [2]> | Ohio State<br> >>>> University<<a href=3D"https://www.osu.edu/" target=3D"_blank" moz-do-not-send=3D"true">https://www.osu.edu/</a> [3]> |<br> >>>> <a href=3D"mailto:hansen.491@xxxxxxxx" target=3D"_blank" moz-do-not-send=3D"true">hansen.491= @xxxxxxxx</a><mailto:<a href=3D"mailto:hansen.491@xxxxxxxx" target=3D"_blank" moz-do-not-send=3D"true">hansen.491@xxxxxxxx</a>><b= r> >><br> >><br> >><br> >> Links:<br> >> ------<br> >> [1] <a href=3D"http://musiccog.ohio-state.edu/" target=3D"_blank" moz-do-not-send=3D"true">http://mus= iccog.ohio-state.edu/</a><br> >> [2] <a href=3D"https://music.osu.edu/" target=3D"_blank" moz-do-not-send=3D"true">https://mu= sic.osu.edu/</a><br> >> [3] <a href=3D"https://www.osu.edu/" target=3D"_blank" moz-do-not-send=3D"true">https://ww= w.osu.edu/</a><br> <br> --<br> Arun Chandra<br> COM 308A<br> The Evergreen State College<br> Olympia, WA 98505<br> office: (360) 867-6077<br> email: <a href=3D"mailto:arunc@xxxxxxxx" target=3D"_blank" moz-do-not-send=3D"true">arunc@xxxxxxxx= green.edu</a><o:p></o:p></p> </blockquote> </div> </div> <div> <p class=3D"MsoNormal">-- <o:p></o:p></p> </div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <div> <p class=3D"MsoNor= mal"><o:p>=C2=A0</o:p></p> <div> <p class=3D"MsoNor= mal">Dr Renee Timmers<o= :p></o:p></p> </div> <div> <p class=3D"MsoNor= mal"><span style=3D"font-size:9.5pt">Reader in Psychology of Music, Director of Graduate Studies <br> Department of Music, University of Sheffield</span= > <o:p></o:p></p> <div> <div> <p class=3D"MsoNor= mal">34 Leavygreave Road, Sheffield S3 7RD<o:p></o:p><= /p> </div> <p class=3D"MsoNor= mal"><o:p>=C2=A0</o:p></p> </div> <div> <p class=3D"MsoNor= mal">Director of <a href=3D"http://= www.sheffield.ac.uk/music/prospective-pg/distance-learning" target=3D"_blank" moz-do-not-send=3D"true"> distance learning MAs in psychology of music</a><o:= p></o:p></p> </div> <div> <p class=3D"MsoNor= mal">Vice President of the <a href=3D"http://= www.escom.org/" target=3D"_blank" moz-do-not-send=3D"true"> European Society for the Cognitive Sciences of Music</a> <o:p>= </o:p></p> </div> <div> <p class=3D"MsoNor= mal"><a href=3D"http://www.sheffield.ac.uk/music/research/researchcentres/music-m= ind-machine" target=3D"_blank" moz-do-not-send=3D"true"><span style=3D"font-size:9.5pt= ">Music Mind Machine in Sheffield</s= pan></a><br> =C2=A0<o:p></o:= p></p> </div> <div> <p class=3D"MsoNor= mal"><a href=3D"https://www.routledge.com/The-Routledge-Companion-to-Music-Cognit= ion/Ashley-Timmers/p/book/9781138721050" target=3D"_blank" moz-do-not-send=3D"true">Now published: Routledge Companion to Music Cognition</a><o= :p></o:p></p> </div> <div> <p class=3D"MsoNor= mal"><br> <img style=3D"width:= .3333in;height:.3333in" id=3D"_x0000_i1025" src=3D"cid:image002.jpg@xxxxxxxx" moz-do-not-send= =3D"true" height=3D"32" width=3D"32" border=3D"0"><o= :p></o:p></p> </div> <div> <p class=3D"MsoNor= mal"><span style=3D"color:#1F497D"><a href=3D"http://= ukcatalogue.oup.com/product/9780199659647.do" target=3D"_blank" moz-do-not-send=3D"true">http://ukcatalogue.oup.com/pro= duct/9780199659647.do</a></span><o:p></o:p></p> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </blockquote> <p class=3D"MsoNormal"><br> <br> <o:p></o:p></p> <pre>-- <o:p></o:p></pre> <pre>Professor Ian Cross<o:p></o:p></pre> <pre>Director, Centre for Music & Science<o:p></o:p></pre> <pre>Faculty of Music<o:p></o:p></pre> <pre>University of Cambridge<o:p></o:p></pre> <pre>Cambridge CB3 9DP<o:p></o:p></pre> <pre><a href=3D"http://www.cam.ac.uk/%7Ecross" moz-do-not-send=3D= "true">www.cam.ac.uk/~cross</a><o:p></o:p></pre> </div> <div align=3D"left"> <hr> <div align=3D"left"><font size=3D"2" face=3D"Arial">The Universit= y achieved an overall 5 stars in the QS World University Rankings 2016/17</font></div> <font size=3D"2" face=3D"Arial" color=3D"gray">The University of Stirling is a charity registered in Scotland, number SC 011159.<br> </font> </div> </blockquote> <br> <pre class=3D"moz-signature" cols=3D"72">--=20 B.Sc. Moritz Klingel Psychoacoustics & Experimental Audiology Acoustics Research Institute Austrian Academy Of Sciences Wohllebengasse 12-14 / 1 A-1040 Vienna, Austria Tel: +43 (1) 51581 2539 (Office) Tel: +43 (1) 51581 2525 (Lab) <a class=3D"moz-txt-link-abbreviated" href=3D"mailto:mklingel@xxxxxxxx= .at">mklingel@xxxxxxxx</a></pre> </body> </html> --------------F3CCBDEF95AC757D7300BFD6--