[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]
Perception as memory
Tonality seems to be about experience, ie, memory, and organization,
IME. I tend to listen to Rachmaninov as not changing keys, most simply
as colorations of the tonic, somewhat like lugubrious Chaikovsky.
Similarly, it is possible (as a composer) to hear (see) every pitch as
belonging to (at least) 17 major/minor keys. When I write "c", it
could be ^1 in C major/ minor, or ^7 in Db. It could also be ^b7 in D
major/minor, or ^bb7 in D# major/minor. When a piece begins on A below
middle C, for me it evokes Tristan, as does the Ab evoke Parsifal.
Part of my ear-training as a student was to take one note, and to sing
the 12 major and 12 minor scales associated with it. As I was trained,
in C major, C# and Db are different, and I treat them as ^#1 and ^b2.
Chopin uses ^b1 as the third of the Polish sixth chord. I have come to
listen to his music as being clarified Rachmaninoff, never being able
to really leave home. And there is F#, clear in Schubert Eight, and
deadswamp-like liquidity in Mahler Ten -- both left unfinished.
In a previous posting I had mentioned "speeding up the hearing". Above
is an example of this process.
PS I didn't start this thread, it came from the posting about DC
offset, or warped 100 Hz sine tones.
Autumn approaches in Montreal where it went below 10 last night.
Date: Tue, 25 Aug 2009 16:25:07 -0500
From: David Smith <smithd@xxxxxxxx>
Subject: Re: Perception as memory ...
My experience is that tonal cognitive mapping can be very fast.=A0
Much faster than the changes indicated by "key changes" or even
Shenkerian types of analysis which don't include memory length as a
significant parameter.=A0=A0 Polyphonic music, for example, still
"makes sense" even if the tonal center change on each beat....