Blanket permissions for my music (GPL-like)

> Message: 15
> Date: Wed, 04 Jan 2006 03:15:14 -0000
> From: "Gene Ward Smith" <gwsmith@...>
> Subject: Re: Score and audio files for fifthtone piece (c. 1600?)
>
> --- In MakeMicroMusic@yahoogroups.com, Margo Schulter <mschulter@c...>
> wrote:
> In a mathematically precise 31-EDO, first described by Lemme Rossi
> > (1666) and Christian Huygens (e.g. 1691), each diesis or fifthtone is
> > equal to precisely 1/31 octave, or about 38.71 cents.
>
> Would you object to my making a 31-et version for use as an example on
>
> http://en.wikipedia.org/wiki/31_equal_temperament
>
> Also, do you know where I can get Vicentino examples?

Dear Gene,

Please let me express my regrets that I didn't see this promptly because I
was away during the holidays, and take this occasion to announce a general
policy of "blanket permission under something like the GNU General Public
License (GPL)" for any music or text that I post here.

You for this specific 31-et project -- or anyone -- is warmly invited to
use or modify anything I post here subject to these conditions:

(1) Credit should be given for the source; and

(2) Any modifications of my material should be duly acknowledged.

Ideally, where practical, a URL might be included to my musical example or
piece if a modified version is offered, so that people can make an easier
comparison -- a bit like providing access to source code.

Again, I thank you for your interest in some very beautiful music (fairly
adding that here the credit goes mainly to the composer of the Portuguese
piece, and to Hoyle Carpenter for his transcription, as well as Johnny
Reinhard for performing it and most generously assisting me to enjoy it
also), and regret the delay, which I hope this blanket policy may avoid
for you and others in the future.

By the way, while Vicentino and Colonna do not, to my best knowledge,
address the question of the mostly tiny discrepancy between a circulating
31-note 1/4-comma meantone and precise 31-et, Lemme Rossi in 1666 does
define 31-et with some mathematical precision, stating that this is the
tuning for Vicentino's archicembalo (or more specifically his first tuning
system based on a 31-note circle plus a few extra notes possibly used to
obtain a few just sonorities, which the second tuning seems to make its
main purpose over a basic 19-note meantone range of Gb-B#). This, plus the
presentations of Christian Huygens in the same era (e.g his _The New
Harmonic Cycle_ of 1691), also interestingly the era of Newton, provides
an historical basis for 31-et as one possible alternative for realizations
of this fifthtone music.

The main practical argument for 1/4-comma meantone is that it might be
easier to tune by ear; as Rossi and Huygens document, the two systems are
almost identical. The most dramatic difference is that if you do 31 notes
in 1/4-comma, the last "odd" fifth will be very close to just, or actually
very slightly wide (6.07 cents for the difference between 31 1/4-comma
fifths and 18 octaves, less 5.38 cents for the regular tempering of
1/4-comma). With a precise 31-et, of course, they'll all be about 5.18
cents narrow.

Anyway, a retuning would be fine, and would permit an interesting
experiment as to whether or how well different people might aurally
distinguish the tunings. We have to allow, of course, for soundfont
oddities and the like that could influence beatrates, one possible
explanation for some anomalies noted by Jon Wild when he found that in my
version of the Coimbra piece from a Portuguese source, the beating of G-D
sounded different from that of other fifths despite the theoretically
regular 1/4-comma meantone.

Peace and love,

Margo

Hi Margot,

For a licensing scheme, I suggest you (and others) take a look at the Creative Commons (www.creativecommons.org). They have several variations, one of which may be just what you want.

- Dave

Margo Schulter wrote:
> >>Message: 15
>> Date: Wed, 04 Jan 2006 03:15:14 -0000
>> From: "Gene Ward Smith" <gwsmith@...>
>>Subject: Re: Score and audio files for fifthtone piece (c. 1600?)
>>
>>--- In MakeMicroMusic@yahoogroups.com, Margo Schulter <mschulter@c...>
>>wrote:
>>In a mathematically precise 31-EDO, first described by Lemme Rossi
>>
>>>(1666) and Christian Huygens (e.g. 1691), each diesis or fifthtone is
>>>equal to precisely 1/31 octave, or about 38.71 cents.
>>
>>Would you object to my making a 31-et version for use as an example on
>>
>>http://en.wikipedia.org/wiki/31_equal_temperament
>>
>>Also, do you know where I can get Vicentino examples?
> > > Dear Gene,
> > Please let me express my regrets that I didn't see this promptly because I
> was away during the holidays, and take this occasion to announce a general
> policy of "blanket permission under something like the GNU General Public
> License (GPL)" for any music or text that I post here.
> > You for this specific 31-et project -- or anyone -- is warmly invited to
> use or modify anything I post here subject to these conditions:
> > (1) Credit should be given for the source; and
> > (2) Any modifications of my material should be duly acknowledged.
> > Ideally, where practical, a URL might be included to my musical example or
> piece if a modified version is offered, so that people can make an easier
> comparison -- a bit like providing access to source code.
> > Again, I thank you for your interest in some very beautiful music (fairly
> adding that here the credit goes mainly to the composer of the Portuguese
> piece, and to Hoyle Carpenter for his transcription, as well as Johnny
> Reinhard for performing it and most generously assisting me to enjoy it
> also), and regret the delay, which I hope this blanket policy may avoid
> for you and others in the future.
> > By the way, while Vicentino and Colonna do not, to my best knowledge,
> address the question of the mostly tiny discrepancy between a circulating
> 31-note 1/4-comma meantone and precise 31-et, Lemme Rossi in 1666 does
> define 31-et with some mathematical precision, stating that this is the
> tuning for Vicentino's archicembalo (or more specifically his first tuning
> system based on a 31-note circle plus a few extra notes possibly used to
> obtain a few just sonorities, which the second tuning seems to make its
> main purpose over a basic 19-note meantone range of Gb-B#). This, plus the
> presentations of Christian Huygens in the same era (e.g his _The New
> Harmonic Cycle_ of 1691), also interestingly the era of Newton, provides
> an historical basis for 31-et as one possible alternative for realizations
> of this fifthtone music.
> > The main practical argument for 1/4-comma meantone is that it might be
> easier to tune by ear; as Rossi and Huygens document, the two systems are
> almost identical. The most dramatic difference is that if you do 31 notes
> in 1/4-comma, the last "odd" fifth will be very close to just, or actually
> very slightly wide (6.07 cents for the difference between 31 1/4-comma
> fifths and 18 octaves, less 5.38 cents for the regular tempering of
> 1/4-comma). With a precise 31-et, of course, they'll all be about 5.18
> cents narrow.
> > Anyway, a retuning would be fine, and would permit an interesting
> experiment as to whether or how well different people might aurally
> distinguish the tunings. We have to allow, of course, for soundfont
> oddities and the like that could influence beatrates, one possible
> explanation for some anomalies noted by Jon Wild when he found that in my
> version of the Coimbra piece from a Portuguese source, the beating of G-D
> sounded different from that of other fifths despite the theoretically
> regular 1/4-comma meantone.
> > Peace and love,
> > Margo
> > > > > Yahoo! Groups Links
> > > > > > >

Sorry for misspelling your name, Margo! (I think I've done this once before as well.)

- Dave

Dave Seidel wrote:
> Hi Margot,
> > For a licensing scheme, I suggest you (and others) take a look at the > Creative Commons (www.creativecommons.org). They have several > variations, one of which may be just what you want.
> > - Dave