Xenharmonic?

>Question: What would be most helpful in music today to the composer, to the
>performer, and to the theorizer...
>
>...therefore an entirely new scale is required, in which the tetrads can
act >as the basic consonances.

While I find Paul E's paper on 22 a mass of excellent knowledge that's
well-written too and I look forward very much to reading it in the up-coming
issue of Xenharmonikon, there are bits that seem to, to me at least,
advocate 22 as good idea for a "next paradigm" or "next big thing" in music.

Now I have a negetive reaction to this, and it has nothing to do with 22.
It has to do with the idea that there ought to be a new paradigm, a new
"main thing" in music at all. To me, this idea represents bad old
industrialist over-standardization, a mindset that I blame for the current
Xenharmonic crisis.

What crisis? For me, it's felt as a distinct lacking. Something's missing
from my toolbox as a musician. Let's see... I've got dynamics, tone color,
what I wear on stage... cheap instruments that are all... tuned the SAME?

In this I also disagree with Partch's pluging of the Monophonic Fabric,
although he emphasized experimentation and non-conformity enough to
compensate. I've got my own "ideal" tunings, and reasons why they're really
good. And I've got my violent response to bad old over-standardization.

If this reflex causes me to read between the lines, then I apologize. I've
read things, supposedly from the field of Xenharmonics, that evoked the
reflex far more strongly than the abovequoted paper on 22 -> Jules Siegel's
insistence on his "System", for example. Paul's paper was just the most
recent example, and so I put in my Two Cents on what "Xenharmonic" means to me.

Carl


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From: Carl Lumma
Subject: The severity of scale
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