TUNING digest 1278

Hi Folks-

Best of the season to you all!
>I took a look at the Denver microtone page recently. Nice site!
>But as I was running through the list of microtone "pioneers" I didn't
>find Haba listed.

I assume Steve was speaking of my page
www-math.cudenver.edu/~jstarret/microtone.html
I am not familiar with Haba, and all the categories on that page are
incomplete either due to ignorance or sloth (both in this case). I
welcome any suggestions for additions, improvements or corrections. I
have been told by a number of people that my page is a useful resource,
so I hope the knowledgeable folks on this list will write to me
jstarret@math.cudenver.edu
if they have any suggestions to improve it.
Apologies go out to Paul Erlich, whose article I have still not got
around to formatting properly.


Gregg Gibson said:
>those who choose to wage the war to make 7:4 consonant I advise to do
>some reading, thinking, and listening; even if they manage the feat, they
>will find themselves involved in the thankless task of attempting to erect a
>system of tonal relations outside the senario, and based on very weak
>consonance at best
I say, what does reading have to do with it? I laughed out loud. 7/4 is a
marvelous consonnance! Gregg, listen to some motorized machinery or other
musical source where the harmonic series is plainly heard, then try to
cast out that 7/4.

And furthermore--
>The 19-tone equal temperament is the only closed, fully cyclic system
>toward which just intonation, in its practically audible aspect, tends;
>it is therefore the only correct system.
To which I respond:
The 12-tone equal temperament is the only closed, fully cyclic system
toward which just intonation, in its practically audible aspect, tends;
it is therefore the only correct system.

And, by the way
>Having now given sufficient information to, at the least, propel the
>open-minded to a close examination of the 19-tone equal temperament,
>having also perhaps discouraged a few frivolous triflers from disgracing
>the 19-tone equal temperament by any use of it,
I have examined 19tet, and found that every interval but the octave is
dissonant, with furious beating and bleating, and yet you seek to stretch
the octave, ruining the only consonance the tuning has to offer.

Gregg, my jesting is all in good humor, but I can back up my assertions by
the same methods you use to back up yours. I know you have some valid
points, but it seems your mind is made up about every one of your conclusions.
This sometimes happens when a person works in isolation, or when one's
immediate peers have little or no knowledge of the subject in which one
is expert. You seem to be well read, and you have a nice formal writing
style, albeit a little confrontatory. I urge you not to ruin your professional
life by treating your peers like a confederacy of dunces.


John Starrett


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From: John Chalmers
Subject: Greek tetrachords in 19
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