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Re: [F_minor] music theory online paper on tempi in '85 goldberg
Glad you enjoyed it. I don't recall for certain, but I think I found it
using my obscure google search strategy -- when I've seen all there is to
see in the first five pages or so of google results for a certain query (in
this case, "glenn gould") I look, somewhat at random, at some of the later
pages -- in the teens or twenties (or sometimes even further) A lot of these
pages are deservedly late in the list of search results, but sometimes one
finds a gem among them.
On Mon, Jul 7, 2008 at 8:26 AM, Houpt, Fred <email@example.com> wrote:
> Bless you for sending this link. This is the type of meaty scholarly
> stuff I've been searching and craving for. How did you find this jewel?
> All the best,
> Fred Houpt
> -----Original Message-----
> From: firstname.lastname@example.org
> [mailto:email@example.com] On Behalf Of Etha Williams
> Sent: Saturday, July 05, 2008 11:33 PM
> To: firstname.lastname@example.org
> Subject: [F_minor] music theory online paper on tempi in '85 goldberg
> I haven't had time to read it in full, but this paper, from the
> open-access Music Theory Online journal, looks quite interesting:
> Peter A Martens.
> *Glenn Gould's "Constant Rhythmic Reference Point": Communicating Pulse
> in Bach's Goldberg Variations, 1955 and 1981 * (
> *ABSTRACT: Glenn Gould's recording career is bookended by his 1955 and
> 1981 recordings of Bach's *Goldberg Variations*. Gould discussed these
> two performances at some length during interviews around the time of the
> 1981 release, and in these comments he expounded a loose theory of a
> "constant rhythmic reference point," the organizing principle behind the
> time dimension of his 1981 recording. Gould maintained that this aspect
> of the latter recording made it superior to his earlier effort by giving
> unity to the set as a whole. Three excerpts from both recordings were
> included as part of an empirical study on tactus choice. To discover
> whether Gould was successful in communicating this unity to the average
> listener, these excerpts were taken from transitions between adjacent
> variations. While participants' tactus choices across these transitions
> were not uniform in response to either recording, they were much less
> diverse in response to the
> 1981 performance. Further, participants' tactus connections in response
> to the 1981 recording largely matched those that Gould explicitly sought
> to make. The results suggest individual and combined effects of Bach's
> composed metric structure and Gould's performance decisions relative to
> that structure, and indicate that Gould was (and is) able to control
> perception of musical time via their tactus to a greater extent with his
> 1981 *Goldberg Variations*.
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