Path: utzoo!utgpu!jarvis.csri.toronto.edu!mailrus!uunet!mcsun!cernvax!chx400!ugun2b!ugobs!bartho From: bartho@obs.unige.ch (PAUL BARTHOLDI) Newsgroups: comp.music Subject: Re: tunings, cont'd Message-ID: <461@obs.unige.ch> Date: 1 Dec 89 08:46:59 GMT References: <3068@husc6.harvard.edu> <6335@merlin.usc.edu> <3113@husc6.harvard.edu> <6460@merlin.usc.edu> <3194@husc6.harvard.edu> <6540@merlin.usc.edu> <3246@husc6.harvard.edu> <6676@merlin.usc.edu> <3288@husc6.harvard.edu> Organization: University of Geneva, Switzerland Lines: 12 In article <3288@husc6.harvard.edu>, elkies@brauer.harvard.edu (Noam Elkies) writes: > ... By the way, it is sometimes possible to separate > the perception of the "rest of the sound" from the initial attack, as has > been demonstrated (on the piano) by Bartok a long time back. > > --Noam D. Elkies (elkies@zariski.harvard.edu) > Department of Mathematics, Harvard University Do you mean musical demo, or textual ? Could you give me (us) some reference on this point by Bartok ? Thanks, Paul Bartholdi, Observatory of Geneva, Switzerland bartho@cgeuge54 Brought to you by Super Global Mega Corp .com