"Paul Ehrlich is not without precedent in his fondness for this system [22 equal]. This is as far as the most charitable informed person can go in the way of an open mind."
Most of us are fairly polite in this forum, so I will continue in that manner. Some people should seriously admit that their presumptions are nothing more than that. It is (to put it mildly) perverse to imply that one system invalidates all others. This may of course come from the equally damaging view that accepting any other system invalidates one's own. At least the writer shows impeccable logic on this one point.
One of the many poor results of such behaviour is that we tend to write off everything said by such people as nonsense. In the present case that would be unfortunate indeed.
With few exceptions, this is not the way this forum has advanced over the several years of its existence, for good reason.
Having stirred up the pot in this manner, I will now put the lid back on, turn down the heat, and leave the room.
========================== Dr. Paul Rapoport SADM (Music) McMaster University
SMTPOriginator: tuning@eartha.mills.edu From: William Sethares Subject: 19 and melodic lemons PostedDate: 18-12-97 02:17:01 SendTo: CN=coul1358/OU=AT/O=EZH ReplyTo: tuning@eartha.mills.edu $MessageStorage: 0 $UpdatedBy: CN=notesrv2/OU=Server/O=EZH,CN=coul1358/OU=AT/O=EZH,CN=Manuel op de Coul/OU=AT/O=EZH RouteServers: CN=notesrv2/OU=Server/O=EZH,CN=notesrv1/OU=Server/O=EZH RouteTimes: 18-12-97 02:14:53-18-12-97 02:14:54,18-12-97 02:14:31-18-12-97 02:14:31 DeliveredDate: 18-12-97 02:14:31 Categories: $Revisions:
Received: from ns.ezh.nl ([137.174.112.59]) by notesrv2.ezh.nl (Lotus SMTP MTA SMTP v4.6 (462.2 9-3-1997)) with SMTP id C1256571.0006DA3E; Thu, 18 Dec 1997 02:16:47 +0100 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA18581; Thu, 18 Dec 1997 02:17:01 +0100 Date: Thu, 18 Dec 1997 02:17:01 +0100 Received: from ella.mills.edu by ns (smtpxd); id XA18578 Received: (qmail 2439 invoked from network); 17 Dec 1997 17:16:52 -0800 Received: from localhost (HELO ella.mills.edu) (127.0.0.1) by localhost with SMTP; 17 Dec 1997 17:16:52 -0800 Message-Id: <199712180114.AA04981@eceserv0.ece.wisc.edu> Errors-To: madole@mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu
> (1) Melody is only one aspect of musical performance. Harmony is > also important,
Just a reminder that many songs in the middle east and in Greece, though not harmonized, are nonetheless often sung to a drone. This drone has the effect of imposing harmonic considerations upon the singer, making the range of such melodies having "harmony" much broader than what many may have considered.
Regards,
Polychroni Moniodis
SMTPOriginator: tuning@eartha.mills.edu From: "Jo A. Hainline" Subject: Re: More on the 19-tone Equal Temperament PostedDate: 19-12-97 19:01:18 SendTo: CN=coul1358/OU=AT/O=EZH ReplyTo: tuning@eartha.mills.edu $MessageStorage: 0 $UpdatedBy: CN=notesrv2/OU=Server/O=EZH,CN=coul1358/OU=AT/O=EZH,CN=Manuel op de Coul/OU=AT/O=EZH RouteServers: CN=notesrv2/OU=Server/O=EZH,CN=notesrv1/OU=Server/O=EZH RouteTimes: 19-12-97 18:59:16-19-12-97 18:59:17,19-12-97 18:58:52-19-12-97 18:58:52 DeliveredDate: 19-12-97 18:58:52 Categories: $Revisions:
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>Real? Are you seriously suggesting that the melodic difference limen >is the single most important aspect in choice of tuning? I can think of >three counterarguments... >(1) Melody is only one aspect of musical performance... >(2) Even within melody, intonation is very variable among instrumentalists... >(3) Even if we grant the melodic difference limen at 1/3 tone, this >says nothing about 19-tet per octave (or per stretched pseudo-octave >as you prefer)...
And I'll add to that, (4) Melodic passages involving intervals smaller than 60 cents are clearly musically meaningful. I'm quite confident that NOBODY will perceive the chromatic run of quartertones C C+ C# Dd D as a subtle "shading" of C C C# C# D. The fact that C C+ C# Dd D is a continuous rise in pitch, whereas C C C# C# D is a sequence of two repeated pitches followed by a third, is a more audible effect. Repetition is almost certainly a much more basic psychoacoustic consideration than this melodic limen you're proposing.
Or similarly, even if a melody doesn't use step sizes smaller than 60 cents, if it is taken from a scale that is nothing at all like a diatonic scale, 9TET for example, then it can't possibly be viewed as a subtle variation on a diatonic melody. It is clearly systematically different at its very roots.
SMTPOriginator: tuning@eartha.mills.edu From: mr88cet@texas.net (Gary Morrison) Subject: Re: Re G. Gibson in TD1265 and on the sensitivity of intervals to mistuning PostedDate: 20-12-97 06:27:41 SendTo: CN=coul1358/OU=AT/O=EZH ReplyTo: tuning@eartha.mills.edu $MessageStorage: 0 $UpdatedBy: CN=notesrv2/OU=Server/O=EZH,CN=coul1358/OU=AT/O=EZH,CN=Manuel op de Coul/OU=AT/O=EZH RouteServers: CN=notesrv2/OU=Server/O=EZH,CN=notesrv1/OU=Server/O=EZH RouteTimes: 20-12-97 06:25:33-20-12-97 06:25:33,20-12-97 06:25:08-20-12-97 06:25:08 DeliveredDate: 20-12-97 06:25:08 Categories: $Revisions:
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