By Alfred Brendel
During this definitive assortment of a well known pianist's writings—some of them by no means ahead of released in English—Alfred Brendel brings the readability and originality of expression that symbolize his performances to the published web page. even if discussing Bach, Mozart, Beethoven, Schubert, Liszt, Schoenberg, or different pianists, his reflections will end up valuable to severe piano gamers and listeners alike.
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Extra resources for Alfred Brendel on Music: Collected Essays
Figure 2. 1 shows what they found. The x axis shows the frequency at which one of the tones was set by the experimenter. The y axis shows how far away from this tone in frequency the other tone had to be set by the subject to make the sequence split. The authors noted that the necessary frequency separation was approximately 1 5 percent of the frequency of the fixed 52 Chapter 2 tone at the lower frequencies but became less at the higher ones. The possibility that this phenomenon could be explained by Gestalt prin ciples of grouping did not escape the notice of these researchers: "If frequency and time in the tonal pattern are replaced by vertical and horizontal spatial coordinates (e.
An example is shown in figure 1. 15 where an alternately rising and falling pure-tone glide is periodically interrupted by a short loud burst of broad-band noise (like the noise between stations on a radio) . When the glide is broken at certain places but no masking sound is present during the breaks, as in the left panel, the ear hears a series of rising and falling glides, but does not put them together as a single sound any more than the eye puts together the fragments of figure 1. 13. However, if the masking noise is introduced in the gaps so as to exactly cover the silent spaces, as in the right panel, the ear hears the glide as one con tinuous rising and falling sound passing right through the interrupt ing noise.
The authors noted that the necessary frequency separation was approximately 1 5 percent of the frequency of the fixed 52 Chapter 2 tone at the lower frequencies but became less at the higher ones. The possibility that this phenomenon could be explained by Gestalt prin ciples of grouping did not escape the notice of these researchers: "If frequency and time in the tonal pattern are replaced by vertical and horizontal spatial coordinates (e. g. , as in the sound spectrographs of visible speech), then the principles of visual organ�zation discovered by the Gestalt psychologists are applicable to the auditory situation.
Alfred Brendel on Music: Collected Essays by Alfred Brendel