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From: mouli@cavell.UUCP (Bopsi Chandramouli)
Newsgroups: net.music.classical
Subject: Re: Music Majors Attention - Question For You
Message-ID: <375@cavell.UUCP>
Date: Wed, 6-Mar-85 02:52:29 EST
Article-I.D.: cavell.375
Posted: Wed Mar  6 02:52:29 1985
Date-Received: Thu, 7-Mar-85 04:48:07 EST
References: <949@hound.UUCP> <1008@reed.UUCP> <210@bu-cs.UUCP>
Reply-To: mouli@cavell.UUCP (Bopsi Chandramouli)
Organization: U. of Alberta, Edmonton, AB
Lines: 25
Summary: 

I am auditing a course in the music department and it is an
introductory(and ambitious too) course covering music of the
midieval period to music of the 20th century. The course is
entirely based on  a collection of 25 records. Most of the
selections are from the book Music - Ways  of listening by Schwartz.
We have a music resources centre where they provide all the records
and the equipment to play them. Even in the class, the
instructor spends 50% of the time playing these records
to demonstrate certain elements of music and characteristics
of particular composers and of  particular periods.
60% of questions in the exams( we have three) test
our listening  abilities and we listen to recordings to answer the
questions. 

But the instructor frequently mentions the limitations of the
recordings and the finer aspects of music that they cannot bring out.
She talks about the memorable and sour-stirring experiences
she had when she visited Vienna recently and attended a performance 
in a famous Baroque period Church. She says that the architecture of
the Church creates some special musical effects  that cannot be
reproduced even in Concert Halls. May be that some composers
of that period wrote music to take advantage of such effects
produced by the building in which the music was played.

Bopsi Chandramouli.