Subject: Re: AUDITORY Digest - 21 Jan 2003 to 22 Jan 2003 (#2003-17) From: ARGIRO VATAKIS <avatakis(at)CSULB.EDU> Date: Thu, 23 Jan 2003 18:24:34 -0800To anyone that can help me out....i am a graduate student and i am currently conducting research in Auditory Perception....i love this stuff and i am interested in participating in an internship or any kind of research involvement during the summer....can anybody help me out....any leads? thank you argiro vatakis ----- Original Message ----- From: "Automatic digest processor" <LISTSERV(at)LISTS.MCGILL.CA> To: "Recipients of AUDITORY digests" <AUDITORY(at)LISTS.MCGILL.CA> Sent: Wednesday, January 22, 2003 9:00 PM Subject: AUDITORY Digest - 21 Jan 2003 to 22 Jan 2003 (#2003-17) > There is one message totalling 55 lines in this issue. > > Topics of the day: > > 1. The Bach choral dilemma > > ---------------------------------------------------------------------- > > Date: Wed, 22 Jan 2003 21:03:55 -0500 > From: Luc Rousseau <LRousseau(at)NICKEL.LAURENTIAN.CA> > Subject: The Bach choral dilemma > > Dear Auditory Listers, > > Listening carefully to BWV 363 (Jesus Christus, unser Heiland), or BWV > 364 (Jesus Christus, unser Heiland, der den Tod), I hardly hear it > streaming, if streaming at all. Same for my Sensation & Perception > class. > > A collegue of mine, who owns a huge collection of Baroque music, told me > that BWV 363 is not a so good instance of polyphonic music. So why > Bruce Goldstein presents it as such in his Sensation & Perception > textbook? (4th ed., 1996, p. 397; 5th ed., 1999, p. 360) > > The author provides a musical notation in Figure 12.11 (p. 360): four > measures of (what is probably, according to title) BWV 363. The notes > clearly stream (VISUALLY, I mean). I am not a musician, but the musical > notation seems to me quite simple for a so complex musical piece. Can > someone confirm that the notation is the original? > > Goldstein notes: "When this passage is played rapidly, the low notes > sound as if they are a melody played by one instrument, and the high > notes sound like a different melody played by another instrument. This > effect [...] is an example of auditory stream segregation [...]." (p. > 360). First, BWV 363 is refered to as an instrumental piece, while the > only instrument is the human voice (choral). The fact that the human > voice is also a musical instrument should probably be emphasized to > musically naive students. Secondly -- and more critically --, why > whould we have to play it rapidly, while the composer's intent was to > provide a polyphonic experience at the written tempo? > > An e-mail sent to the author at bruceg+(at)pitt-edu on Nov. 30, 2001, has > not been answered yet. > > A legal (30 sec.) excerpt of BWV 363 may probably be made available on > the Auditory List Home Page, if someone can provide it. Are more > salient examples of Baroque polyphony known? > > I have a great respect for Goldstein's S&P textbook, and I hope Auditory > Listers will provide clues into (what my S&P class and I are now > refering to as) the Bach choral dilemma. > > Luc Rousseau, Ph.D. > Assistant Professor > Department of Psychology > Laurentian University > Sudbury, Ontario, Canada > > ------------------------------ > > End of AUDITORY Digest - 21 Jan 2003 to 22 Jan 2003 (#2003-17) > **************************************************************