in the course of discussing our perceptions
about the way a medium is employed, wlt4
observes . . .
>>In music, for example, this displayed effort is
>>often part of the signification process . . . even
>>the synchronized bowing of an orchestral string
>>section (I've heard it argued that this has no
>>real effect on the resulting sound).
and while this is immaterial the the question at
hand, or to film studies, i thought it worth pointing
out that it does make a difference and has a real
effect on the sound . . we know this because in
the thirties stokowski trained the phildelphia to NOT
use synchronized bowing, because he wanted a more
seamless sound . . . and the difference in the sound
of the violins is noticeable, even emerging from
old shellac discs. . . contemporary testimony suggests
that the differences were even greater than we can
tell today . . .
Screen-L is sponsored by the Telecommunication & Film Dept., the
University of Alabama: http://www.tcf.ua.edu