Acustic Research Work, Volume 2
Good news to all pianists: we hear what we hear and live a bit less in the imagination than the way these different applied sciences persuade us. Up to now we have had to conclude on the basis of the previous measurements that one could not objectively exhibit sound differences when stroking one key with the same dynamic volume on the same piano. No one can resent a pianist if he parrots the proposal - he finds alternative means to manipulate the listener. For the sound let it be irrelevant if a mailman or a Rubinstein would produce the sound on the instrument. In order to anticipate our results: a great dimension of sound differentiation is possible at the piano. The different overtone construction is not coupled to the volume (the final velocity of the hammers) but reached like this. Everything we have tested in the movement process- connected to all the different attitudes of the apparatus corresponds to an original sound color and its unique overtone construction! For this reason every school of piano is awarded its right to exist. But furthermore from this many others will be possible because every one of them generates its own sound colors. I want to introduce an array of pianistic processes that were not yet described or were even frowned upon. Some "dubious" movement procedure (.. with these flat fingers only Horowitz can play ) not only present themselves to be worthwhile sound-wise but also prove meaningful in its athletic aspect.
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