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From: smoliar@vaxa.isi.edu (Stephen Smoliar)
Newsgroups: comp.music
Subject: Re: Semantics of Music?
Message-ID: <13698@venera.isi.edu>
Date: 31 May 90 00:12:23 GMT
References: <2370@aipna.ed.ac.uk> <2394@aipna.ed.ac.uk>
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Reply-To: smoliar@vaxa.isi.edu (Stephen Smoliar)
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In article <2394@aipna.ed.ac.uk> geraint@aipna.ed.ac.uk (Geraint Wiggins)
writes:
>
>The point of my example of keys is that certain keys give certain very
>lowlevel
>sensations, which are perceived on some subliminal level. I'd be interested on
>other netters views on this - I'm VERY surprised to hear you claim that these
>associations are arbitrary. David Burge, for example, claims that these "tone
>colours" run down to the individual note level, and are what give rise to
>absolute pitch. Having followed part of his pitch training course, I'm
>inclined
>to agree. Aside from that, I have always been taught that the IS such a
>widespread perception, and have used it (with, as far as I know, the desired
>results) in my own compositions.
>
>So what do people think on this one?
>
Unless I'm mistaken, John Sloboda tried to deal with this issue in his book,
THE MUSICAL MIND.  He tried to account for any concrete psychological
experiments which had been performed.  About the only conclusion he could
draw was that the jury was still out.  Have any better experiments been
designed since he wrote that book?

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