Reply to Paul Rapaport

Gregg Gibson said:
> "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."

Paul Rapaport said:
> 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.

This is nonsense. The gentleman to whom I was addressing the remark to
which you take exception, has adopted an insolent tone from start to
finish, in which tone I have never replied to him (until now), even
under the most direct provocation, for he does seem to know enough to
contribute something. It is no insult to anyone to say a particular
system is of little value to music. If this tuning list is nothing more
than a mutual admiration society for various kinds of musico-academic
hangers-on, designed to rope in the unwary to the idle joys of any one
of a number of very dubious tuning systems, it is a fraud, and the
progress to which you refer, nothing more than an aimless, desultory
meandering.

I thank you for your kind remarks concerning my posts. I hope that I
have provided people with a few new ideas of interest. My other
responsibilities will soon greatly curtail my posts, I fear, so these
few individuals who find themselves mortally offended by every other
thing I say, will soon be left to nurse their 20-tone equal babies in
peace.


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From: Gregg Gibson
Subject: Reply to Paul Ehrlich
PostedDate: 18-12-97 15:35:37
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Re Joel Mandelbaum: we just premiered his _Ten Studies in 31-tone
Temperament, Variations on a Textural Theme by A.D. Fokker (1963) on Dec.
12th at a Composers Concordance concert. Joel played synthesizer, Andrew
Bolotowsky played flute and I bassooned. The piece was especially well
received.

On the same concert Brenda Schuman-Post of San Francisco premiered my oboe
solo Melanin and I answered in a public interview about my views on
polymicrotonality. It was a charged night!

Joel quickly moved away from 19ET after completing his thesis in order to
focus on 31ET, which he found preferable. The piece is planned for a
March 4th AFMM concert at C.W. Post College.

Johnny Reinhard
Director
American Festival of Microtonal Music
318 East 70th Street, Suite 5FW
New York, New York 10021 USA
(212)517-3550/fax (212) 517-5495
reinhard@idt.net
http://www.echonyc.com/~jhhl/AFMM


SMTPOriginator: tuning@eartha.mills.edu
From: Steven Rezsutek
Subject: 9-limit JI -- playing with fire again
PostedDate: 19-12-97 19:12:35
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