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<DIV><SPAN
style='FONT-SIZE: 11pt; FONT-FAMILY: "Calibri","sans-serif"; COLOR: #1f497d'>Eytan
Agmon wrote:</SPAN></DIV>
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style='FONT-SIZE: 11pt; FONT-FAMILY: "Calibri","sans-serif"; COLOR: #1f497d'></SPAN> </DIV>
<DIV><SPAN
style='FONT-SIZE: 11pt; FONT-FAMILY: "Calibri","sans-serif"; COLOR: #1f497d'>>
In Beethoven’s case, I have always assumed that the scores he produced are
testimony to what he heard in his “inner ear.”</SPAN></DIV>
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<DIV><SPAN
style='FONT-SIZE: 11pt; FONT-FAMILY: "Calibri","sans-serif"; COLOR: #1f497d'><FONT
size=3><FONT color=#000000>Yes, most would have similar assumptions. It is more
complicated, though. Beethoven, like most composers, used rules while composing.
Analysis of the scores shows this. Analysis of Beethoven’s scores from different
times also shows that most rules were the same or similar across the second half
of his lifetime. So, when he wrote down notes after having lost his normal
hearing, how many of his decisions were based on auditory imagination and how
many were based on the application of rules?</FONT></FONT></SPAN></DIV>
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<DIV><SPAN
style='FONT-SIZE: 11pt; FONT-FAMILY: "Calibri","sans-serif"; COLOR: #1f497d'><FONT
size=3><FONT color=#000000>The ratio might have been 20/80, 10/90, or 2/98. We
have no way of knowing.</FONT></FONT></SPAN></DIV>
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<DIV class="action-menu ab_ctl">Martin Braun<BR>Neuroscience of Music<BR>S-66492
Värmskog<BR>Sweden<BR><A
href="http://www.neuroscience-of-music.se/index.htm"><FONT
color=#000080>http://www.neuroscience-of-music.se/index.htm</FONT></A></DIV></DIV></SPAN></DIV></DIV></BODY></HTML>