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Tape Swap

🔗Bruce Campbell <CAMPBEB@...>

7/25/1997 6:33:57 AM
D. Atadan writes

>>It occurred to me that all our list members wanting to contribute to the
Tape
Swap who live outside of the United States might have a problem getting
ahold
of US postage for the self-addressed stamped envelope.<<

You can get International Reply Coupons (IRCs) at most post offices in the
US. I would guess they're available elsewhere. They run me a little over a
dollar each and are designed for just this situation. You might ask at your
post office.

Bruce Campbell.



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From: bricarls@du.edu
Subject: Expressive Intonation
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🔗Adam Silverman <adam.silverman@...>

7/26/1997 8:21:22 PM
(Brian Carlson):
> Several months ago there was some mention of expressive intonation. I
> didn't quite understand what that meant, but I believe there was an
> example that one could play a C# in some cases that was actually at a
> lower frequency than a natural C. Maybe I'm not remembering correctly,
> but can anyone out there explain the concept of expressive intonation in
> greater detail?

The idea of "expressive intonation" arises from the use of strict
microtonalism which often becomes so specific that the performer has no
room for interpretation by means of pitch shifting, vibrato, portamento,
etc. When the composer specifies exactly which pitch s/he wants from a
gamut of 31 or 1200 or more steps-per-octave, musicality often gets thrown
out of the window. Expressive intonation is not a system, but just an
issue that may be addressed by a vague-ness in the notation, a program
note, or other ways that best suit your music. I assume that most
people who work with equal temperaments will want to limit this as much
as possible, (which still allows for expressiveness in articulation,
rhythm, dynamics, etc.). In my music, I have been working on finding good
ways to use Extended Just Intonation as a goal, while giving the performer
a chance to show their musicality. This is much the same as standard
tonal music performance-practice, except that it accepts higher
overtone-relationships as consonances.

Adam B. Silverman
abs22@pantheon.yale.edu



SMTPOriginator: tuning@eartha.mills.edu
From: gbreed@cix.compulink.co.uk
Subject: Blueprint for World Domination
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