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From: jsc@kingtut.MIT.EDU (Jin S Choi)
Subject: Re: Re: Perfect Pitch
Message-ID: <1991Mar26.113344.28254@athena.mit.edu>
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Organization: Massachusetts Institute of Technology
References: <7180012@hpfcso.FC.HP.COM> <3137@esquire.dpw.com> <1991Mar25.140024.14520@en.ecn.purdue.edu> <1991Mar25.171913.2997@linus.mitre.org>
Date: Tue, 26 Mar 91 11:33:44 GMT
Lines: 38

In article <1991Mar25.171913.2997@linus.mitre.org>, jfjr@mbunix.mitre.org (Freedman) writes:

|> >	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.
|> >
|> >please direct replies to /dev/null
|> >
|> >-davisonj@ecn.purdue.edu
|> 
|> 
|>    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. 
|> 
|>    
|>                             Jerry Freedman,Jr

I don't think that's quite what Davison was talking about. I read 'colors'
as in red, orange, yellow, green, blue, that kind of thing, and to that I
agree. I certainly don't think of D minor as a brown key or anything like
that. You're talking more about color as in timbre, to which I also agree.
The string a note's played on makes a real difference. I'm not sure if there's
an analogue to this in the world of winds.

--
Jin Choi
jsc@athena.mit.edu
617-232-3257
