Tuning in University Music Instruction

I would like to weigh in on this topic in a way that is perhaps unpopular
with the tuning list, but to my mind, better for both students and for the
treatment of tuning as something other than a side topic.

I assume that a music student will have exposure to performance and theory
in a repertoire other than her principal interest, and that study will
include a course in the physics and psychophysics of music. In the context
of a western university, the theory and musicianship **core** for western
music would have at least four parts, in which mastery of intonation is one
skill integrated with familiarity with a repertoire through performance,
analysis, and composition upon historical models. The core sequence we
developed at Wesleyan in the mid-eighties (but sadly never implemented due
to the tragic death of Jon Higgins) envisaged a four course sequence, each
lasting a semester, each with a specific model repertoire, and an
associated intonation (the titles were very broadly drawn and for the
fourth course never really settled upon):

(1) _Melody_, using chant and other monophonic repertoire, primarily
Pythagorean.
(2) _Counterpoint_, especially _15th_ century, introduction of just triadic
intervals.
(3) _Tonality_, Bach Chorales and Preludes, and Mozart Sonata movements,
introduction to and consequence of instrumental (keyboard) techniques,
including temperaments.
(4) _Chromaticism and Serialism_, generalization of variation techniques,
including fugue, resources of equal temperament.

Beyond this sequence, advanced courses in contemporary or experimental
music, in special topics within classical western repertoire, and in other
repertoires would be offered.

My experience with University-level music students on both sides of the
ocean, and with the level of musicianship within the tuning community has
convinced me that it is better to go deep rather than broad when it comes
to intonation. An intellectual encounter with 15 (let alone 50) tuning
_systems_ within 15 weeks is of limited practical value - as is the study
of modal counterpoint learnt at the tempered piano keyboard. I think that a
course of study where the musicianship and musical intellect are developed
simultaneously will leave the student musician with the tools required to
explore further repertoire - and further systems of intonation - or to
compose new repertoire - and design appropriate tunings - with greater
command, and I daresay, more musicality.

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> I'll have to try these different modes out! As you may have read, Gary
> Morrison and I have both experimented with this tuning and fail to hear any
> 3:1 equivalence.

Actually, I've experimented with 3:1 in other tuning contexts, but no
matter...


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