(Pierre Divenyi )

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

This message came from the mail archive
maintained by:
DAn Ellis <dpwe@ee.columbia.edu>
Electrical Engineering Dept., Columbia University