I would think that this technology would be useful in transcribing piano
performances of original works that are difficult to interpret from
recordings, for example (and probably not a good one} "Bear Trap Blues" by
Jimmy Yancey. The occasional minor seconds in the bass could be some
rough-hewn form of appoggiatura, a cluster or a mistake. Using such a device
could help an editor figure out whether something that sounds like a mistake
is used with enough consistency that it is intended.

When I read about Glenn Gould being transcribed this way, I thought of his
Beethoven Sonata No. 32, a great and very individual performance in which
his humming is particularly loud. Would this technology be able to pick out
every pitch no matter how dense the texture? Would it work well with a very
loud pianist who uses extremely dense chords, like Henry Cowell?   

David N. Lewis
Assistant Classical Editor, All Music Guide
1168 Oak Valley Dr.
Ann Arbor, MI 48108
734 887 8145
"Mankind will never know the essence of music in its reality and entirety.
Hail to the prophets!" -  Ferruccio Busoni, 1924

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Karl Miller
Sent: Thursday, June 09, 2005 12:59 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] Cow Cow 's return?

On Thu, 9 Jun 2005, George Brock-Nannestad wrote:

> ----- I think that is a good sign. We have had a long-running series in
> Danish Radio's "culture" channel comparing for about 2 hours performances
> certain works, but not telling the panel who the performers are. I would
> that in about 4 cases out of 5 it is an "old" recording that wins the
> evening.

I wonder if indeed there might be a renewed interest in older recordings,
if it might foster a generation of musicians more concerned about a wider
range of expression their performances...I can only hope so.