Varese concert date correction

The date for the Varese performance in Paris of GRAPHS AND TIME is Monday,
January 29th. I incorrectly gave the wrong date. Thank you.

Johnny Reinhard
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@styx.ios.com


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You should definitely check out "New Music with 31 Tones" by Adriaan Fokker,
published by Verlag fur systematische Musikwissenschaft GmbH in 1975, if you
seek to incorporate some good insights into 31-ET tonality as researched by
Mr. Fokker and friends. If you're lucky, you can find the English translation
by Leigh Gerdine in your university music library, but otherwise you might
find the Dutch or German translations. Perhaps Webster
College in St. Louis, where Gerdine was president, could be of assistance.

You probably already know about Joel Mandelbaum's exhaustive dissertation done
at Indiana U. in 1961.

Best of luck with your research. Let us know when your dissertation is complete!


f you're looking for any more tonal microtonal music, I could send you copies
of pieces I've done in 19 and 31-ET which are very oriented twoard harmonic
exploration of intervals such as the neutral 3rd, 7:4 equivalents, etc. At the moment, I'm creating the final computer-notated
versions of these, but can let you knwo when they're complete.

Sincerely,
Harold Fortuin, Ph.D.

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On Sun, 21 Jan 1996 HFORTUIN@delphi.com wrote:
> You should definitely check out "New Music with 31 Tones" by Adriaan Fokker,
> published by Verlag fur systematische Musikwissenschaft GmbH in 1975, if you
> seek to incorporate some good insights into 31-ET tonality as researched by
> Mr. Fokker and friends. If you're lucky, you can find the English translation
> by Leigh Gerdine in your university music library, but otherwise you might
> find the Dutch or German translations. Perhaps Webster
> College in St. Louis, where Gerdine was president, could be of assistance.

(It's now Webster University, BTW.) Before that, Gerdine was head of
the music department here at Wash.U. Here are our library's holdings of
Fokker's musical writings:

JUST INTONATION AND THE COMBINATION OF HARMO <1949> (WU)
NEUE MUSIK MIT 31 I E EINUNDDREISSIG TONEN <1966> (WU)
NEW MUSIC WITH 31 NOTES <1975> (WU)
SELECTIONS FROM THE HARMONIC LATTICE OF PERF <1968> (WU)
UNISON VECTORS AND PERIODICITY BLOCKS IN THE <1968> (WU)

The third item is an English tranlation of the second, but unfortunately
is not available for InterLibrary Loan. (It's in our Special Collections
because it's signed by the translator, i.e. Gerdine.)

--pH (manynote@library.wustl.edu or http://library.wustl.edu/~manynote)
O
/\ "Do you like to gamble, Eddie?
-\-\-- o Gamble money on pool games?"


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Thanks for all of your rather warm responses to my thoughts on microtonal
research. I have either scanned or thoroughly studied (or somewhere in
between) all of the material that you suggest and found them all quite
influential in forming my present opinions. Fokker, Vyshnegradski, et al,
were only excluded from my thesis for the simple fact that projects, like
human beings, must have limits. The paper was written with the foresight
that I might, someday, have the opportunity to teach a course (or a section
of a course) in methods of composition in extended tonalities and would be
able use it for that purpose. Many of you have probably already read, first
hand, all of the source material that went into the project and would glean
little, if any, "new" information from it. However, it is not completely
without merit to make comparisons of epitomized theories viewed in close
proximity. So from that point of view you might find it at least amusing. I
am hoping to publish segments of it at some point in the future, so you
might see it pop up somewhere. Otherwise, I can produce and mail it for
about $8. If you'd like a copy, send me a mailing address, and I'll get it
out ASAP.
Matt Puzan D.M.A.



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I suspect that Marion McCoskey's methodical survey of JI is perhaps a good
direct example of what Matthew's was looking for in methodizing new-tuning
resources. (Harry Partch didn't - or so it seems to me anyway - do a methodical
survey of tunings, as much as he created an innovative new musical world and let
his mind play in it.) That along with the folks he already, like Easley
Blackwood. Ivor Darreg did an even more complete survey of equal-temperaments
in his Xenharmonic Frontier, Multiples of Five, and Multiples of Seven studies.
(Some of that is in his CD, by the way.) But perhaps more importantly, he
investigated and published methodical suggested approaches to composition in
those tunings.

It's kind of odd in a way: I both strongly agree, and yet somewhat disagree,
with Matthew's view of the importance of methodically evaluating
the various new-tuning possibilities. That makes a lot of sense with regard to
making sense of the chaos, and guiding people with certain inclinations toward
appropriate tunings. The balance to that though is the creative zing we often
get seemingly from nowhere - I call it divine inspiration - in doodling around
with a given tuning. That doesn't have much to do with methodical
investigation, neither with respect to locating an appropriate tuning, nor with
respect to the composition process itself. Some of the best compositional and
listening inspirations I've had were totally inexplicable best I can tell.


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Matt Puzan sez:

> Otherwise, I can produce and mail it for
> about $8. If you'd like a copy, send me a mailing address, and I'll get it
> out ASAP.

Can you (will you) post an abstract and table of contents for your dissertation
to the tuning list to give us a better idea of what it covers?

Speaking of dissertations, I just received a copy of Enrique Moreno's
yesterday. It looks quite interesting, and he sent out the materials very
quickly.

John
pusey@remqhi.enet.dec.com


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