SEVEN, ALL THE MUSIC IS MICROTONAL

SEVEN ALL THE MUSIC IS MICROTONAL TD 1187, 1213

) Where is the 12 ? 1192, 1194, 1201, 1206
) Musical writing 1215
) Just listen (Marion) 1188
) More than 12
) Sound Spectrum
continuum (Hstick) 1205
) Cross-cultural (J. Reinhard) 1198, 1203
) Piano's Tuning
) Microtonal Architecture (J. Szanto) 1197
- Myriad of both tunings and styles (J. Reinhard) 1201
- Xenharmonic music (John Chalmers) 1206

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) Just listen (Marion) 1188

>And when you think about it, why limit it to pop? The principle
>instruments of a symphony orchestra are violin, viola, and string
>base--no frets! Almost every other instrument in an orchestra is
>capable of some real-time microtuning by skilled musicians.

>12ET is a theory that is honored largely in the breach.

>Mostly the 12 is really some subset, and the ET is squeezed
>toward JI as much as possible.

>Just listen.

>Marion
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Microtones are present in all the intervals made by free-intonation
instrumentalists.
When I was 12 I heard different records of the same piece played by the
greats violinists of my time. I didn't understand why the music academy
taught 12 tones per Octave and many more were heard. The notes were of
different frequencies but nobody answered this dicotomie.
This was the start point of my studies on tuning.
During their life, all the violinists use the "tonal material" in a
different form.
Twenty years ago In an ASA joint meeting I spoke to Carleen Hutchins about
Ruggiero Ricci and she affirmed what I was telling her, it is that RR was
the person who changed more the notes-frequencies in the same piece.
I didn't know if she knew this by ear or according to a rigourous work.

I ask to the forum, does anybody know about some publication on this topic ?


Eduardo
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