everybody loves microtones............ha

http://groups.google.com/group/rec.music.makers.guitar.jazz/browse_thread/thread/d88891cb84b183ed/33495c148d72626b#33495c148d72626b

--- In MakeMicroMusic@yahoogroups.com, "daniel_anthony_stearns"
<daniel_anthony_stearns@...> wrote:
>
>
http://groups.google.com/group/rec.music.makers.guitar.jazz/browse_thread/thread/d88891cb84b183ed/33495c148d72626b#33495c148d72626b
>

Me, too:

http://groups.google.com/group/de.rec.musik.machen/browse_thread/thread/d181f4611f40a4aa/91aa3e18ef71d122?lnk=raot&hl=de#91aa3e18ef71d122

I think the same people may like your fabulous JI guitar stuff
a lot more. 17tet is just a very hard temperament to enjoy.

Personally, I found it hard to listen though all the piano stuff. I could hear that there was some very good composing in there but the sound of 17tet on the piano was simply too jarring for me. I enjoyed the string players' performance however.

/ Magnus

On Fri, 6 Oct 2006, daniel_anthony_stearns wrote:

> http://groups.google.com/group/rec.music.makers.guitar.jazz/browse_thread/thread/d88891cb84b183ed/33495c148d72626b#33495c148d72626b

I hope the nay-sayers understand that 17 isn't the only microtonal
tuning out there. And at the same time, that maybe they shouldn't
expect to like it the first time. Microtonal piano sounded 'wrong'
to me for my first few attempts. I wouldn't say cacophonous (it
was JI in that case) and I didn't hate it, but I didn't like it,
either. I think musicians are more likely to have this reaction
when an instrument they are so expert at listening to is suddenly
very different.

Glad to hear that some liked it.

-Carl

Looks like Germans are more understanding (excuse the
machine translation)

"but I belonged myself times midi from you. I believe that was
with the 5 sound per oktave. at the beginning that sounds already
quite badly. ; -)) because one is not used to it, and one always
believes that something is detuned. but if one it sounds oneself
more frequently, then accustoms one itself to. and after a while
listen to, imagined I even that is more detuned in parts our
12 clay/tone system than with the 5 sound."

-Carl

Dan,

17 is far from my favorite tuning, and it is quite true that with that much piano playing all in a row it can become wearying, timbrally. I would also hazard to guess that the classical/operatic style of the singing on your piece might have put them off, if subconciously.

All that aside, it is still a continual amazement at how conservative peoples artistic habits can be. For a very, very large population, it is almost as if the art of the last century never occurred. Mr. Ives would be chagrined at how many Rollos still are at large!

From deep in the niche,
Jon

so many have lost the taste for the wonderment of awe and mystery.

Jon Szanto wrote:
>
> All that aside, it is still a continual amazement at how conservative peoples artistic habits can be. For a very, very large population, it is almost as if the art of the last century never occurred. Mr. Ives would be chagrined at how many Rollos still are at large!
>
>
> -- Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

--- In MakeMicroMusic@yahoogroups.com, Jon Szanto <jszanto@...> wrote:

> 17 is far from my favorite tuning, and it is quite true that with
that much piano playing all in a row it can become wearying, timbrally.

I wonder how possible a similar project for 34 would be; would it be
possible to have three Bösendorfers tuned a 34-diesis apart with a
pianist laying down the timing, and somehow get people interested in
writing for that? Because I probably would have contributed to a 34
project. One thing one might note is that 12n-2, two notes less than a
multiple of twelve, nails a number of interesting divisions: 22, 34,
46, 58. After that you get the 12n divisions, 72 and 84.

Ah well.