<HTML><FONT FACE=arial,helvetica><FONT SIZE=2>In a message dated 08/30/2002 4:13:45 AM Eastern Daylight Time, Richard.Brekne@grieg.uib.no writes:
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<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"> but how is that line up with
<BR>formal ear training and music theory at University level. Just what is
<BR>it they are teaching these people ?
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<BR>Hi,
<BR> I think this falls into the same kinda thing as the perfect pitch thread I posed a while back.You learn different intervals in ear training, and different relationships, not so much how they are tempered.I guess
<BR>most musicians I have run across,are more interested in the overall performance of the piano,and the execution of the piece,than what temperment the piano is in,given that the piano is in some kind of good tuning.I enjoyed the different temperments at the Chicago convention,could I recognize them now by hearing again,most definitely not.When I played thirds going up,it was definitely different,as you said,that had to be noticed.But when I played a piece,it sounded wonderful,but you couldn't put your finger on what was different.
<BR>Just my rambling,
<BR>Hazen Bannister </FONT></HTML>