FWD: CCRMA Computer Music Concert, March 11, 1997

From: ICMA
Subject: CCRMA Computer Music Concert, March 11, 1997 (fwd)

From: Fernando Pablo Lopez Lezcano
______________________________________________________________
C C R M A Computer Music Concert
______________________________________________________________

WHEN: Tuesday, March 11 1997, 8:00 pm.
WHERE: Campbell Recital Hall,
Braun Music Center,
Stanford University.
-Free admission-
______________________________________________________________

PROGRAM

Quest (1986) -- Fernando Lopez-Lezcano
for stereo tape

Song of the Shaman (1995), Janet Dunbar
for performance poet, soprano, percussionist and tape

Jacqueline Thurston, performance poet
Mary Linduska, soprano
Richard Holmes, percussion

Colony, 1st movement (1981), Bill Schottstaedt
for stereo tape

Ricercare una Melodia, Jonathan Harvey
for trumpet and four channel tape

Aux mains de l'espace (1993), Gerald Eckert
for four channel tape

Snapshots on a Circle (1997), Jonathan Norton
for alto sax, percussion, cello and tape

Alto sax: Gary Scavone
Cello: Dahna Rudin
Percussion: Mark Goldstein

______________________________________________________________
For more information point your WWW browser to:
http://www-ccrma.stanford.edu/CCRMA/Events/Concerts/Winter-1997.html
______________________________________________________________

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Daniel Wolf wrote:

> Schenker himself wrote precious little that was useful about
> intonation and - a contemporary of Schoenberg and Hauer - was active
> in a Vienna that was solidly committed to equal temperament (listen to
> any recording by Kolisch).

All that I've ever noticed of substance on intonation are the comments
in Harmony (1906), where Schenker takes a Zarlinoesque approach,
filtered through the harmonic series. He says that art must place
restrictions on what nature offers, and so only the first six harmonics
contribute to tonality -- whatever the vagaries of his explanation, his
conception of at least the major scale seems to be firmly 5-limit. He
criticises Riemann (as usual) for his utonal-type explanation of the
minor -- he seems unconvinced primarily because such an explanation
lacks an acoustical basis (this shows, as we might expect, that a purely
mathematical explanation is not acceptable to him). He notes that the
first minor triad available in the harmonic series is 10:12:15, and that
the root is thus not identical with the fundamental. But he never quite
settles on an explanation -- thus Daniel's phrase "a clouded major"
seems quite fair (the tierce de Picardie also lurks in the shadows).

As a further restriction upon natural resources, Schenker then says that
art represents this essentially 5-limit system by the simpler 12TET. I'm
not at all sure that this move is available to Schenker, but it
undoubtedly places him within the decidedly pro-12TET Viennese milieu
that Daniel mentions.

> What would be very interesting would be to take one of Schenker's
> graphic analyses and to construct a tuning for the piece based up
> projecting the simplest rational interpretations at each stage of
> prolongation and elaboration.

I've done some work on this. For example, two works of Beethoven would
seem to defeat a 5-limit explanation even of the Background:

1. the funeral march of the Ab Sonata, op.26, which ends up a great
diesis away from its tonic (repeating this in the reprise), i.e.
(6/5)^4.

2. the song "In questa Tomba oscura", which ends up a lesser diesis away
from its tonic, i.e. (5/4)^3

One other point of interest: in connection with the F major Prelude of
Chopin's op.28, Schenker tentatively explains the Eb in the final chord
as Chopin's "visionary" inclusion of the 7th harmonic (since the chord
doesn't function as a dissonance to be resolved). Jonas, in his
footnote, enthusiastically reinforces this explanation.

--
Jonathan Walker
Queen's University Belfast
mailto:kollos@cavehill.dnet.co.uk
http://www.music.qub.ac.uk/~walker/


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