missent post

Although a discussion of Cage is conceivable on this list, I did
not mean to post my message _Metaphorical Cage_,here.
Sorry for the confusion.
!#%$!#%$!#%$!#%$!#%$!#%$!#%$!#%$!#%$
#@#@^%#@#@^%Erik Nauman(*%&%(*%&%(*%&%
%&$*^%&$*^%&$*^%&$*^%&$*^%&$*^%&$*^
The Rice School/La Escuela Rice
Houston

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I suppose it's fair to say that music is already classified by tuning, but I
guess you're refering to on a more wide-spread basis than by a few tuning-heads
like us! But I'd say that as long as we keep writing, for example, just
intonation music and marketing it as such, it will always be perceived as JI.
All that remains then is just the question of how widely the music gets heard,
because it will be heard with that label on it.

By the way, I too agree with Ivor's idea of moods. And in response to Paul's
question on the topic, I'll mention two things. First, Ivor claimed to have
tested the 19TET, 22TET, and 24TET moods on over a hundred people and got
similar reactions as to their moods (forceful, peaceful, and same as 12TET,
respectively).

Second, and along the lines of personal experience, I am increasingly of the
impression that mood are more easily perceivable than theoretically analyzable
interval approximations for example, when it comes to real-world music. I say
that in the sense that, when notes "fly by" our ears at typical rates, even for
harmonic rhythms, it's pretty difficult for us to pinpoint tiny details like
exactly how a major third is tuned, or whether it has any neutral thirds in the
tuning. But what I do hear loud and clear over the course of phrases and entire
compositions, is the cummulative effect of those qualities. If a composition
uses lots of neutral thirds (as I did in a recent composition of my own) it's a
little hard to latch on to the exact tuning of any one chord, especially at this
piece's tempo. Still, the ambiguous sensation of those neutral thirds is
flagrantly obvious in the overall sound of the composition.


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