Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10.1 6/24/83; site allegra.UUCP Path: utzoo!watmath!clyde!burl!ulysses!allegra!dep From: dep@allegra.UUCP (Dewayne E. Perry) Newsgroups: net.music.classical Subject: Re: How do you hear polyphony Message-ID: <2664@allegra.UUCP> Date: Fri, 3-Aug-84 10:46:19 EDT Article-I.D.: allegra.2664 Posted: Fri Aug 3 10:46:19 1984 Date-Received: Sat, 4-Aug-84 03:28:46 EDT References: <3022@rabbit.UUCP>, <1479@ucbvax.UUCP> Organization: AT&T Bell Laboratories, Murray Hill Lines: 26As to whether the subject 'jump out at you' or you have to listen intensely: there are a number of factors involved. First, it depends upon the particular piece of music - ie, how much the composer helps you in listening to the piece. This kind of help includes such things as the distinctiveness of the subjects and the kinds of transformations performed on them. For example, contractions, fragmentation, etc are fairly easy to find; while inversions and retrogressions are not. These latter kinds of things can usually only be detected by careful analysis of the score. Second, it depends upon how familiar you are with the particular form of polyphony. If you know what the intended form is, then you know what to expect and when. Of course, hardly anyone follows the standard form, but that is what makes it interesting - you get suprises and twists. Lack of familiarity can easily be remedied by a certain amount of study. Third, it depends upon your physical capabilities - whether you have good tonal memory. To a certain extent this is a matter of concentration. On the other hand, some people are just more naturally gifted. Don't despair! You can extend your gifts by diligent practice. (This is true of all of your musical skills). Study, listen, practice - dep