Fertile fields

[Kraig Grady:]
>On the other hand this tolerance of variation has pushed others ears
(even some famous string players whose name need not be named) to
wander so far off that I for one lose track of where they are. This
occurs frequently enough in the concert halls or recordings that it's
acceptance, I find bewildering. Even in String Quartets, this same
type of confusion occurs, possibly in part due to an ambiguous nature
in the passage itself.

Kraig really hits on a number of excellent points here... This is a
passage from Carl E. Seashore's "Psychology of Music" pertaining to
the control of pitch intonation via the tonoscope:

"When we record artistic performances of singers or players with great
precision photographically, a mass of deviation in pitch intonation
shows up. Many of them are, of course, merely faulty intonation due to
error or incapacity in performance; but many have artistic value. One
group of these represents artistic intention. Another, a much larger
class, represents psychophysic tendencies for intonation of interval
that are produced unconsciously by the performer but yet serve
artistic purposes in the melodic situation or in the modification of
tone quality. The collection and classification of samples of this
latter class is a sort of natural-history procedure in the psychology
of music studio and presents a very fertile field for investigation.
[pg. 366-367]"

Putting aside the inevitable gaps between the intuitive (or the
cultured) "artistic value" and "artistic intention," and the
resolutely 'nosologically minded' pursuit -- this surely seem as
fertile a field for investigation as measurable intonational
tendencies would have to offer... When Kraig wrote*: "Even in String
Quartets, this same type of confusion occurs, possibly in part due to
an ambiguous nature in the passage itself," I was reminded of the
often strikingly differing consequences that free-pitch and
fixed-pitch instruments can impart upon any sort of 'superincumbent
psychophysical necessity.' Using the example of say Art Tatum (as
ultra-naturally gifted a musician as I can imagine), what would those
ever surprising modulations have sounded like had he had to render
them in some non-piano (i.e., free-pitch) context? I believe he
certainly had the gifts to hear them no matter the medium - yet where
would the intonation fall? While the exact extent that the lack of
intonational flexibility in fixed-pitch instruments plays in creating
'bolder,' or more ambiguous, harmonic and melodic constructs is a
question I personally don't see any possibility of definitive answers
in, I certainly do believe they present very fertile fields for
investigation...

Dan
___________
*As well as the recent discussions of 'interval gestalts,' and
sharpened leading tones.

At 14:48 8/15/99 -0700, you wrote:
>From: "D.Stearns" <stearns@capecod.net>
>
>[Kraig Grady:]
>>On the other hand this tolerance of variation has pushed others ears
>(even some famous string players whose name need not be named) to
>wander so far off that I for one lose track of where they are. This
>occurs frequently enough in the concert halls or recordings that it's
>acceptance, I find bewildering. Even in String Quartets, this same
>type of confusion occurs, possibly in part due to an ambiguous nature
>in the passage itself.
>
>
>Kraig really hits on a number of excellent points here... This is a
>passage from Carl E. Seashore's "Psychology of Music" pertaining to
>the control of pitch intonation via the tonoscope:
>
>"When we record artistic performances of singers or players with great
>precision photographically, a mass of deviation in pitch intonation
>shows up. Many of them are, of course, merely faulty intonation due to
>error or incapacity in performance; but many have artistic value. One
>group of these represents artistic intention. Another, a much larger
>class, represents psychophysic tendencies for intonation of interval
>that are produced unconsciously by the performer but yet serve
>artistic purposes in the melodic situation or in the modification of
>tone quality. The collection and classification of samples of this
>latter class is a sort of natural-history procedure in the psychology
>of music studio and presents a very fertile field for investigation.
>[pg. 366-367]"
>
>Putting aside the inevitable gaps between the intuitive (or the
>cultured) "artistic value" and "artistic intention," and the
>resolutely 'nosologically minded' pursuit -- this surely seem as
>fertile a field for investigation as measurable intonational
>tendencies would have to offer... When Kraig wrote*: "Even in String
>Quartets, this same type of confusion occurs, possibly in part due to
>an ambiguous nature in the passage itself," I was reminded of the
>often strikingly differing consequences that free-pitch and
>fixed-pitch instruments can impart upon any sort of 'superincumbent
>psychophysical necessity.' Using the example of say Art Tatum (as
>ultra-naturally gifted a musician as I can imagine), what would those
>ever surprising modulations have sounded like had he had to render
>them in some non-piano (i.e., free-pitch) context? I believe he
>certainly had the gifts to hear them no matter the medium - yet where
>would the intonation fall? While the exact extent that the lack of
>intonational flexibility in fixed-pitch instruments plays in creating
>'bolder,' or more ambiguous, harmonic and melodic constructs is a
>question I personally don't see any possibility of definitive answers
>in, I certainly do believe they present very fertile fields for
>investigation...
>
>Dan
>___________
>*As well as the recent discussions of 'interval gestalts,' and
>sharpened leading tones.
********************************************************************
>
>Dear D.Stearns,

I believe you are talking Turkish music in this post to say the least.
>
>
>
>
>
>

Dr. Can Akkoc
Alabama School of Mathematics and Science
1255 Dauphin Street
Mobile, AL 36604
USA

Phone: (334) 441-2126
Fax: (334) 441-3290
Web: http://199.20.31.100/GIFT/