Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10.2 9/5/84; site cavell.UUCP Path: utzoo!watmath!clyde!burl!ulysses!mhuxr!ihnp4!alberta!cavell!mouli 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.