Path: utzoo!utgpu!jarvis.csri.toronto.edu!mailrus!tut.cis.ohio-state.edu!cs.utexas.edu!wuarchive!decwrl!shelby!portia!gaia From: gaia@portia.Stanford.EDU (fai to leung) Newsgroups: comp.music Subject: Re: What is perfect pitch? Message-ID: <7051@portia.Stanford.EDU> Date: 28 Nov 89 07:16:08 GMT References: <18807@kuhub.cc.ukans.edu> <365@bbxsda.UUCP> <1989Nov27.212927.3253@agate.berkeley.edu> Sender: fai to leung Reply-To: gaia@portia.Stanford.EDU (fai to leung) Organization: Stanford University Lines: 13 In article <1989Nov27.212927.3253@agate.berkeley.edu> ladasky@codon4.berkeley.edu.UUCP (John Ladasky) writes: > I hope that that professor of yours did not discourage the use of >absolute pitch, though. For a lot of modern works, I find the use of absolute >pitch to be a better guide than relative pitch (for the reasons stated >above - no tone center, strange context, etc.). Other people seem to think >so too - our choral director is attempting to impart a good sense of absolute >pitch to the chorus, in preparation for the Penderecki piece we're singing >in the spring. Just cursious, will listening to intervals instead of pitches enhances a "grasp" of music context? Or vice versa? I don't have absolute pitch and am interested to know the other side of the story. Or is this a totally different issue? Brought to you by Super Global Mega Corp .com