> Beyond that, there is the less measurable by very important influenceof acoustic and music-psychological theories upon compositional styles, going back at least to Berlioz.
I would be interested to see specific examples in pieces of music where these things produced events in the musical foreground that are traceable back to these theories.
Here's one, then I'll quit: Janacek drew deliberately upon the notion (discussed by acousticians of his day) that sounds continue to echo briefly after they have ceased being produced, writing both fleeting polychords in imitation of the supposed overlap of adjacent chords, and quasi-arpeggiations where two successive chords were meant to be heard as if played simultaneously.
It is very thoroughly and unambiguously documented both that he got the idea from acoustic theory, and that he consciously applied it in his own work.
-- Andrew Stiller Kallisti Music Press
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