Ravel loved the waltz and its associations with the Viennese court, but after having fought on the Front against Germany and Austria, his feelings about the Viennese waltz had changed. Following the war, the opulence of the Viennese courts could never be returned to, turning La valse into a tribute to a lost past. These two orchestral waltzes by Ravel, then, offered a stark contrast. Though the work shifts from jolly to sombre, conductor Thierry Fischer ensured that it never became too serious.
Slowly the full waltz began to emerge, eventually leading to its full arrival played by the whole orchestra. This waltz could never be real as it lay in the shadow of the powerful opening threat.
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Its loud, full orchestral close was not triumphant but painful, as the waltz and the threat of the percussion and brass were harrowingly juxtaposed. He was captivating to watch especially during fast and rhythmically complex passages. Holt brought out the raw and primitive side in Pahud, and used his struggle to catch a breath for powerful dramatic effect. But the most effective aspect of Morpheus Wakes was its sparseness; in the first movement in particular, there were passages where only one or two instruments played a few notes with big rests in between.
Every single note had its purpose and nothing was inserted merely as a fill in. Very occasionally, Holt inserted jabbing full-orchestral chords, but these were rare and brief. But nothing more was needed: their shocking concision was enough. The work is less about dramatic contrasts and more about maintaining a peaceful constancy from which moments of intensity can be built. Though there are moments of climax, their beauty stems from how they emerged organically.
The end of the Kyrie , for example, grew in volume, leading to a full orchestral climax, but this progression was completely natural. Songs like "CookieMonster" and "DarkestDay" fused heartfelt seriousness and Dada abandon, a combination of earnestness and silliness that summed up the feel of the entire evening. The band's signature piece of stagecraft was another anchor for the evening. James Ronner's massive sculpture of a twisted face sat at the right of the stage for the entire show, serving as a visual anchor for a program of separate styles and different genres.
A small screen in one of the eyes of the sculpture bore a constant stream of stock film footage, imagery that also appeared on a larger, wider screen at the back of the room. For all the chaos and changes that occurred on stage during the four-hour showcase, such touches helped add a degree of constancy.
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You have successfully signed up for your selected newsletter s - please keep an eye on your mailbox, we're movin' in! The overall sense of theme was deeper than the stagecraft or the carefully tailored film footage. Through all the different styles, through the sudden shifts in genre and musical approach, the show had a continuous feel. All of the music on display had shared ties in the Denver scene; every artist on stage was part of a common community. The effect made for an impressive four hours.
By clicking 'X' or continuing to use the site, you agree to allow cookies to be placed. No difference in the amount of activity in HG was seen in that contrast. However, an anterior portion of the right STG planum polare , in addition to the right superior temporal sulcus, was more active when the pitch of subsequent tones changed. The data from the present study support this view. The functional hemispheric asymmetry found in the present study, and reported in many prior studies, indicates a preferential role for right auditory cortical structures in the processing of pitch patterns.
One account of this phenomenon Zatorre et al. This idea may help to explain the unexpected finding that the LT group performed better than controls in one condition Fig. Assuming that the right auditory cortices are optimized for processing spectral information and that the left auditory cortices have a coarser spectral resolution, one could speculate that in an intact brain the contribution of the left auditory cortices to performing our pitch discrimination task may be analogous to adding a certain level of noise to the necessary neural computations. Removal of the left auditory cortices may thus allow those on the right to execute the task unimpeded, therefore resulting in better performance than if both cortices were intact.
Although it is unusual to see an improvement in function with removal of cortical tissue, it is not unprecedented. For example, in the study by Johnsrude and colleagues, patients with large resections of left auditory cortical regions obtained lower discrimination thresholds than controls in judging pitch direction, although this result was not statistically significant Johnsrude et al.
Therefore, although this effect is subtle, it is possible that under appropriate circumstances one may be able to demonstrate a type of enhancement in pitch processing from left auditory cortical disruption. This study examined pitch constancy as an example of perceptual constancy and explored how context can affect this perception.
In particular, we investigated how the auditory cortex can use contextual cues to facilitate pitch constancy. Although a melodic context greatly facilitated pitch constancy both in controls and in patients with left temporal lobe lesions, it helped patients with right temporal lobe lesions much less.
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We propose that the auditory processing necessary for judging tones relative to those that were heard previously requires neural systems located in the right anterior auditory cortex. We wish to thank the patients who participated in this study and their surgeons, Dr A.
Olivier and Dr W. Feindel, for their cooperation.
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We would also like to thank Dr V. Penhune for assessing the lesion location and preparing Fig. Ahad for expertise in stimulus synthesis.
Differences in intensity level of each harmonic are shown relative to the other harmonics. Left Average scores for both isolated open bar and melodic shaded bar conditions, shown by group. Right Average scores at each pitch difference of test tones, shown by group circles, NC; squares, LT; triangles, RT for the isolated top and melodic bottom conditions. Error bars are indicated.
Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide. Sign In or Create an Account. Sign In. Advanced Search. Article Navigation. Close mobile search navigation Article Navigation. Volume Article Contents. Right temporal cortex is critical for utilization of melodic contextual cues in a pitch constancy task Catherine M. Correspondence to: Catherine M. Oxford Academic. Google Scholar. Robert J. Cite Citation. Permissions Icon Permissions.
Abstract Pitch constancy, perceiving the same pitch from tones with differing spectral shapes, requires one to extract the fundamental frequency from two sets of harmonics and compare them. Keywords : auditory cortex; context; pitch; spectral shape; association cortex. Open in new tab Download slide. Table 1. Numbers in parentheses are ranges except in first column, where they indicate gender.
Open in new tab. Prefrontal deficits in attention and inhibitory control with aging. Cereb Cortex.
Eur J Neurosci. Crowder RG. Auditory memory. Thinking in sound.
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A psychophysical study. Henke W. Belmont MA : Cerebral blood flow relationships associated with difficult tone recognition task in trained normal volunteers. Functional specificity in the right human auditory cortex for perceiving pitch direction. Auditory processing in primate cerebral cortex. Curr Opin Neurobiol. Krumhansl CL.
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