TUNING digest 1374

Dear all, I am a grad student doing a paper on the history of alternate tuning systems and how we composers are using some of them today. The info here is great, but I need citeable references. Any and all books, journals, articles, and URLs would be mightily appreciated.Thanks very much for the clear info presented here.
Momilani Ramstrum

John Loffink and others who know about samples of microtonal music in
movies have talked about the subject frequently in the Tuning Digests. I
have interest in "2001" and "Star Trek II, The Wrath of Khan" - soundtrack.
Can someone tell me how to find the exact spots where the microtonal music
is located. Perhaps you could describe the scenes so that I could see the
scenes and hear the music with it? I would think that others reading these
Tuning Digests would be interested also. ALITA MORRISON

>2001: The vocal (choral) music associated with the black monolith. Probably
> something on the order of 15 minutes into the movie, again as a guess.
>I haven't checked into either of those suggestions. I don't recall either
>being particularly microtonal, but I don't have any reason to doubt what
>they're saying.

The pieces by Gyorgy Ligeti in 2001 include Lux Aeterna (the choral piece
associated with the monolith), Atmospheres (used during the "Stargate"
sequence), and the Requiem (I believe also used during the Stargate
sequence). Though Ligeti has been known to use non-12tet notes, as far as I
remember (I don't have the scores handy), these pieces used 12tet pitches,
mostly in clusters. They are classics of the 1960s school of textural or
sound-mass composition.

Penderecki has on occassion asked for quarter-tone clusters or microtonal
melodic inflections in his works of the same period. Kubrick used some of
Penderecki's pieces (as well as Ligeti's Lontano, if memory serves) in The
Shining, though I don't recall if they were pieces that included
microtones.

Here's some trivia about these films: Alex North was hired by Kubrick to do
a complete orchestral score for 2001 and he did. The entire score was then
trashed when Kubrick decided he liked the temp track of the Blue Danube
more. (North later turned parts of the score into a concert piece that I
haven't heard). Similarly, Wendy Carlos wrote a score for The Shining, of
which only two pieces survived, including the terrifying quotation of the
Dies Irae which opens the film. Does anyone know if her pieces used
alternate tunings, or if the rejected pieces ever saw the light of day in
another form?

Bill

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
^ Bill Alves email: alves@hmc.edu ^
^ Harvey Mudd College URL: http://www2.hmc.edu/~alves/ ^
^ 301 E. Twelfth St. (909)607-4170 (office) ^
^ Claremont CA 91711 USA (909)607-7600 (fax) ^
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

>>2001: The vocal (choral) music associated with the black monolith.
Probably
>> something on the order of 15 minutes into the movie, again as a
guess.
>>I haven't checked into either of those suggestions. I don't recall either
>>being particularly microtonal, but I don't have any reason to doubt what
>>they're saying.

>The pieces by Gyorgy Ligeti in 2001 include Lux Aeterna (the choral piece
>associated with the monolith), Atmospheres (used during the "Stargate"
>sequence), and the Requiem (I believe also used during the Stargate
>sequence). Though Ligeti has been known to use non-12tet notes, as far as I
>remember (I don't have the scores handy), these pieces used 12tet pitches,
>mostly in clusters. They are classics of the 1960s school of textural or
>sound-mass composition.

>Penderecki has on occassion asked for quarter-tone clusters or microtonal
>melodic inflections in his works of the same period. Kubrick used some of
>Penderecki's pieces (as well as Ligeti's Lontano, if memory serves) in The
>Shining, though I don't recall if they were pieces that included
>microtones.

>Here's some trivia about these films: Alex North was hired by Kubrick to do
>a complete orchestral score for 2001 and he did. The entire score was then
>trashed when Kubrick decided he liked the temp track of the Blue Danube
>more. (North later turned parts of the score into a concert piece that I
>haven't heard). Similarly, Wendy Carlos wrote a score for The Shining, of
>which only two pieces survived, including the terrifying quotation of the
>Dies Irae which opens the film. Does anyone know if her pieces used
>alternate tunings, or if the rejected pieces ever saw the light of day in
>another form?
>
>Bill
>
>^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>^ Bill Alves email: alves@hmc.edu ^
>^ Harvey Mudd College URL: http://www2.hmc.edu/~alves/ ^
>^ 301 E. Twelfth St. (909)607-4170 (office) ^
>^ Claremont CA 91711 USA (909)607-7600 (fax) ^
>^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

>>2001: The vocal (choral) music associated with the black monolith.
Probably
>> something on the order of 15 minutes into the movie, again as a
guess.
>>I haven't checked into either of those suggestions. I don't recall either
>>being particularly microtonal, but I don't have any reason to doubt what
>>they're saying.

>The pieces by Gyorgy Ligeti in 2001 include Lux Aeterna (the choral piece
>associated with the monolith), Atmospheres (used during the "Stargate"
>sequence), and the Requiem (I believe also used during the Stargate
>sequence). Though Ligeti has been known to use non-12tet notes, as far as I
>remember (I don't have the scores handy), these pieces used 12tet pitches,
>mostly in clusters. They are classics of the 1960s school of textural or
>sound-mass composition.




>^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>^ Bill Alves email: alves@hmc.edu ^
>^ Harvey Mudd College URL: http://www2.hmc.edu/~alves/ ^
>^ 301 E. Twelfth St. (909)607-4170 (office) ^
>^ Claremont CA 91711 USA (909)607-7600 (fax) ^
>^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

My recollection is that Lux Aeterna (for 16 voices) is heard during trip
across the moon to where the monolith is buried. The Requiem (which is
voices
and a small wind ensemble) is the monolith theme (heard at least three
times).
And Atmospheres is heard during the Stargate sequence

-Henry Willard

P.S. Sorry for the extra message.