microtonal cello & an installation at Mela Foundation NYC

Sorry about the shot notice....

Two very special presentations in the Chruch Street Dream House.

On Sunday June 22, at 8pm, virtuoso cellist Charles Curtis
will perform his new work, Ultra White Violet Light, for solo
cello improvised in a justly intoned melismatic style set
against an enviroment of continuous sine tones and taped prose
recitation. Curtis will open the concert with a set of rarely heard
single line ballades and virelais by the 14th century master
Guillaume de Machaut.

On Sunday June 29, from 2pm to mid-night, the Dream House
will be transformed by the frequencies of Mobile, Chord 8, a
continuous sound installation by Michael J. Schumacher.
Come and go through out the afternoon and evening, or
stay the entire ten hours to hear a chord consisting of
six intervals in just intonation unfolding in algorithmically
shifting variations, gradually illuminating the many harmonic
combinations.

Of course Dream House: Seven Years of Sound and Light
1993-2000 remains open Thursdays & Saturdays 2pm to midnight.
Note: closed July & August - reopens in Sept.

Mela Foundation
275 Church Street
NY, NY 10013
212-925-8270


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In the past year I have measured twelve Javanese Gamelan in Germany. While
this is not a large sample, I have not detected a preference for stretched
over diminished octaves in the tuning of the gamelan as a whole. Exceptionally, slendro instruments with both a low and a high pitch one
will almost always have stretched octaves, while those with two pitch sixes
almost always diminish the octave. Marc Perlman reports from his tuner that the octaves can be stretched to
cover singers who tend to go sharp in the upper octaves - a rationale
entirely different from the acoustical explainations most often given.
Using the spectrum analysis feature of Pitch Perfect (which is admitedlybuggy), I have been unable to obtain very consistant patterns in the
frequency ratios of the partial tones. Yes, they are stretched from an
integer series but in a rather haphazard way depending largely on the shape
of the key, and so I would be very hesitant to endorse any explaination of
the tuning based upon the timbre of the instruments other than one in which
the general inharmonicity allows a greater degree of latitude. A difference
tone theory like that of Wilson remains, to my ears at least, plausible. Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl
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>I saw one about tunings with octaves not being
>exactly powers of 2. In most cases of variation it seems that values
>greater (rather than less) than 2 are found in practice. The reasons
>may relate to overtones being not exact harmonics of the fundamental.

As an aside for any of you newcomers to the list, Bill Sethares has
developed some well-defined techniques for manipulating the overtone
structures of tones to make them have JI-like effects in non-JI tunings.
Or the reverse. He's working up a book on the topic.

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