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From: davisonj@en.ecn.purdue.edu (John M Davison)
Subject: Re: Re: Perfect Pitch
Message-ID: <1991Mar25.190633.11351@en.ecn.purdue.edu>
Organization: Purdue University Engineering Computer Network
References: <3137@esquire.dpw.com> <1991Mar25.140024.14520@en.ecn.purdue.edu> <1991Mar25.171913.2997@linus.mitre.org>
Date: Mon, 25 Mar 91 19:06:33 GMT

In article <1991Mar25.171913.2997@linus.mitre.org> jfjr@mbunix.mitre.org (Freedman) writes:
>In article <1991Mar25.140024.14520@en.ecn.purdue.edu> davisonj@en.ecn.purdue.edu (John M Davison) writes:
> [quoting myself]
>>	I don't know if this entirely applies to David Burge, but
>>anyone who claims that there is a fundamental correlation between
>>colors and pitch classes is full of shit, and that's all there is to
>>it.

>   This is a rather strong statement. There is a "type"
>of pitch recognition that many instrumentalists develop,
>particularly those who do a lot of "transcription" on
>their instruments(jazz improvisors for instance).
>In this case tone color/timbre is used - although
>probably not consciously. For examples guitarist
>can recognize what string perhaps even what fret
>and deduce from there the pitch being played. I
>have known players who, upon hearing a pitch,
>imagine that pitch on their instrument and then
>deduce that pitch. 

	I am not talking about tone color here; otherwise I would
have said timbre.  Obviously someone can use timbral cues to
determine the note being played on a particular instrument.  I was
talking about visual color.

OK, this is _really_ my last followup.

-davisonj@en.purdue.edu