<html><body><div style="color:#000; background-color:#fff; font-family:times new roman, new york, times, serif;font-size:12pt"><div><span style="font-size: 12pt; "><font class="Apple-style-span" face="arial, helvetica, sans-serif">Arnie Cox considers the possibility that '</font></span><span class="Apple-style-span" style="color: rgb(69, 69, 69); background-color: rgb(255, 255, 255); "><font class="Apple-style-span" face="arial, helvetica, sans-serif">"improvisatory" passages are distinguished not merely as patterns of sounds but as patterns of either imagined or performed actions. One might want to say *of course* this is the case, but I'm not sure to what extent this is reflected in the vocabulary and rhetoric of our discipline.'</font></span></div><div><span class="Apple-style-span" style="color: rgb(69, 69, 69); background-color: rgb(255, 255, 255); "><font class="Apple-style-span" face="arial, helvetica,
sans-serif"><br></font></span></div><div><span class="Apple-style-span" style="color: rgb(69, 69, 69); background-color: rgb(255, 255, 255); "><font class="Apple-style-span" face="arial, helvetica, sans-serif">In general, I would characterize relationships between an acoustical event (stimulus) and a perceptual/cognitive event (response) via a 'heard-as' predicate: e.g., onset-pair x and y is heard as time-intervallically the same as onset-pair y and z. Correspondingly, onset-pair x and y might be heard as having been realized as time-intervallically the same as onset-pai</font></span><font class="Apple-style-span" face="arial, helvetica, sans-serif" style="background-color: rgb(255, 255, 255); ">'</font><span class="Apple-style-span" style="color: rgb(69, 69, 69); background-color: rgb(255, 255, 255); "><font class="Apple-style-span" face="arial, helvetica, sans-serif">r y and z, or x and y might be 'felt' (i.e., as in an act of 'performing along
with') as time-intervallically the same as y and z, and so forth. </font></span></div><div><span class="Apple-style-span" style="color: rgb(69, 69, 69); background-color: rgb(255, 255, 255); "><font class="Apple-style-span" face="arial, helvetica, sans-serif"><br></font></span></div><div><font class="Apple-style-span" color="#454545" face="arial, helvetica, sans-serif"><span class="Apple-style-span" style="background-color: rgb(255, 255, 255); ">In a behavioural account, imagining can be considered perceiving in the absence of an otherwise perceivable thing: e.g., I might imagine the Eiffel Tower or the opening of Mozart's 41st without being in Paris or in a concert hall etc. </span></font></div><div><font class="Apple-style-span" color="#454545" face="arial, helvetica, sans-serif"><span class="Apple-style-span" style="background-color: rgb(255, 255, 255); "><br></span></font></div><div><font class="Apple-style-span" color="#454545"
face="arial, helvetica, sans-serif"><span class="Apple-style-span" style="background-color: rgb(255, 255, 255); ">Jay Rahn, York University</span></font></div><div style="font-size: 12pt; "><blockquote style="border-left-width: 2px; border-left-style: solid; border-left-color: rgb(16, 16, 255); margin-left: 5px; padding-left: 5px; "><div style="font-size: 12pt; font-family: 'times new roman', 'new york', times, serif; "><div style="font-size: 12pt; font-family: 'times new roman', 'new york', times, serif; "><br>_______________________________________________<br>Smt-talk mailing list<br><a ymailto="mailto:Smt-talk@lists.societymusictheory.org" href="mailto:Smt-talk@lists.societymusictheory.org">Smt-talk@lists.societymusictheory.org</a><br><a href="http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org"
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