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Dave Hill-

You message was difficult to read due to some ASCII-like codes, but I
think I get the idea. Your scheme is similar, if not identical, to
Helmholtz's 24-tone schismatic temperament. Does anyone have that one
handy for comparison? Also similar is the 22-tone sruti system of India,
which can be described as a series of fifths, the 5th and 17th fifths
optionally altered by a schisma, to yield the eight-fifths-down major
thirds.

Let me ask you this, though -- did you find meantone harmonies
insufficiently pure? A 24-note meantone tuning would be able support a
larger repertoire than the schismatic temperament you describe. Also,
the tuning I mentioned in one of my first post to the list, two copies
of 12-tET separated by 15 cents, would yield purity comparable to that
of the pure-fifths version of your scheme, but, allowing for (fairly
imperceptible) 15-cent melodic shifts, would permit unlimited modulatory
freedom within the 5-limit. Personally, I'd get two of your 24-tone
pianos, put one in a 24-note meantone tuning and the other in 22-tET
(check out my tape swap tune for the kinds of sounds I'd get out of that
one).

-Paul Erlich

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This appears in Brian McLaren's article:

Bosnaquet made the jump outside of the 12-tone scale. Already in the
1870s he considered the properties of a large number of equal-tempered
scales, focusing in particular on the 22-tone equal-tempered scale.
[Bosanquet, 1874]

Looking at the sources listed in the back of Brian's paper, several 1874
Bosanquet articles are listed. It is probably:

"On the temperament, or the division of the octave." Philosophical
Magazine, Fourth Series, Vol. 48, No. 321 (Supplement) July-December,
1874, article No. 27, pp. 215-218.

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