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Re: Perception as memory ...
You can't be serious in saying that people with absolute pitch don't
'hear' chords. It's true that we can pick out the names of notes
within a chord in addition to hearing it, but of course we perceive
pitch relationships at the same time.
I quote from Arthur Rubenstein's autobiography: 'My young years', in
which he describes an interview he had with the great Professor
Joachim when he was about four years old:
'First he asked me to call out the notes of many tricky chords he
struck on the piano, and then I had to prove my perfect ear in other
ways. And finally, I remember, he made me play back the beautiful
second theme of Schubert's Unfinished Symphony after he had hummed it.
I had to find the right harmonies, and later transpose the tune into
Professor Diana Deutsch
Department of Psychology
University of California, San Diego
9500 Gilman Dr. #0109
La Jolla, CA 92093-0109, USA
On Aug 24, 2009, at 7:05 AM, Kevin Austin wrote:
Thanks for the reply.
My experience is that perception is unique and individual --
statistical in nature.
The training example is interesting. What I didn't mention is that
in three cases I 'tested', synesthetes, all three with absolute
pitch and absolute color, they did not have the sensation of
integration of the 10-note chord. They simple named the 10 notes in
ascending order on hearing the sound for under a second. My
experience with some others with absolute pitch has been that they
don't "hear" chords. One person told me that she did tonal harmonic
analysis not by hearing the chord and its function, but by hearing
the notes and doing a rapid [reverse engineering] analysis. All
three chose to be in the visual arts and keep music as a hobby.
One of the three prepared a 10 meter-long score of the first
movement of the Bartok Music for Strings, Percussion and Celeste, in
graph form, by ear. Each pitch class was represented by a different
color (her color <-> pitch-class mapping). She reported difficulty
in only one place, in the lead-up to the central (octave) unison,
where certain inner voices appeared in the wrong octave. I think
this had to do with the quality of the recording she was working
from, and the (low) quality headphones she used. She did this all
with relative ease and I realized (again) how dwarfish my own
hearing is in such an environment.
At some point in this on-going discussion, there may be a topic on
continuous and quantized time. Another time maybe.