On a couple of subjects...

To Adam (and other mbira fanciers...):

Jonathan Glasier has at least one impressive mbira (microtonal), and I
believe it was made not by him, but one of his colleagues here in San
Diego. They might have insights into both construction and materials, as
they have built a few of them (to my knowledge).

Re: Bruce and Matt (and the composition/improvisation dialogue):

There are even larger issues here, if one cares to think about it. I find
value in both sides, but if one is to show the inheirent superiority of a
'new' system (alternate tunings), might it not have more power if it is
carefully crafted to illumine those new-found strengths, rather than rely
upon the Muse striking at just the right time (we all know that even the
best improvisors don't have a great night every time!)?

On the other hand, if one creates an entire sound-field in a new
intonation, where all of the instruments share the same intonational
resonance (my mind wanders to modern [possibly Western] gamelans), then
improvisation in that setting might 'show' the listener the beauty (or
ugliness) of a particular tuning, without the need for a carefully worked
out harmonic scheme.

That said, where is this music going? Aren't we all aware that the *only*
reason there was the slightest blip upward in sales of classical recordings
was accounted for by all of the cross-over and compilation discs last year?
There can be no doubt in anyone's mind: the audience for carefully-hewn,
artfully crafted, what might be loosely called 'classical' music is
**dwindling**. All the new groups, with new hair and attitudinal
transplants (Bang On A Can, Icebreaker, Kronos, etc.) - they may sell a few
discs and get some press, but this too shall pass.

And does anyone, even Neil, think that by refretting guitars and switching
intonations he is going to draw crowds the way KISS did last year? Are the
audiences driven by a popular format ready, willing, *capable* of
acknowledging any 'superior' intonation? Do they want the 'new'? Do they
want the 'experimental'? More to the point: do the record companies (the
bastards!)?

Or maybe we enter the age (or re-enter) of the amateur, in the truest and
most wonderful sense, where the only reason is to make *music* - not
converts, not money, not careers, not ?

Make music.

Cheers,
Jon

[BTW: I haven't been sending the tuning list updates about the Partch site,
but I've added material over the last few weeks - stop by. I now have a
link to the tuning list, and a few of the people signing the guestbook have
indicated interest in tunings; I sent 'em to you kids...]
*------------------------------------------------------------------*
Jonathan M. Szanto | Partch, standing in a Meadow . . . . . . . .
Corporeal Meadows | . . . . . . . . . . the Dreamer That Remains
jszanto@adnc.com | http://www.adnc.com/web/jszanto/welcome.html
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