On 7 Feb 2005 at 17:08, Andrew Stiller wrote: > > > Beyond that, there is the less measurable by very important > > > influence > >> of 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.
And to get the point of the music, do you need to know this about the origins of the idea? If not, then it's not very important musically, in my opinion. If so, then it's probably not very good music to begin with. -- David W. Fenton http://www.bway.net/~dfenton David Fenton Associates http://www.bway.net/~dfassoc _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
