C21 Orch Instrs - Contents

Further to my message yesterday about the instruments paper - I
thought it might be useful just to list some of the contents
headings and Appendices (to give a general idea.....)

On the subject of Appendices - I should have mentioned that I'm
especially grateful to Paul Hahn for 'co-authoring' Appendix IV,
which is an exposition of the idea of consistency in Equal
Temperaments; to Paul Erlich whose idea it originally is; and to
to John (Chalmers) and Manuel (Op de Coul) who helped out during my
hour of need! Thanks to all!

Am trying to make it available ASAP.

1. Overview

- Why 21st Century Orchestral Instruments?
- Intonational Characteristics of Pitched Acoustic Instruments
- Twelve Division Equal-Temperament - in Theory and Practice
- Practicalities of Intonation on New Acoustic Instruments
- The Keyboard and the Success of Twelve Division Equal-Temperament
- Towards a Provisional Alternative Tuning System Standard (or
Standards)
- A Centre for 21st Century Acoustic Instruments

2. Towards the 'Acoustic Orchestra of the 21st Century'

- Continuity and Disturbance
- New Instruments in the Orchestra?
- Acoustic Instruments & Electronics, Funding and Market Forces

3. Virtuosity and Otherness

- Extended Techniques
- Orchestral Electroacoustics

4. Which ATS would be most effective for the 'Acoustic Orchestra of
the 21st Century'?

- Criteria
- Commitment, Availability, Cost
- Feasibility : Instruments and Performance
- Some Basic Terms - Just Intonation and Temperament
- Beyond the Traditional Criteria for Evaluating Alternative Tuning
Systems
- Consonance and Dissonance
- Relating Tuning and Timbre - from Helmholtz to Sethares (1)
- Relating Tuning and Timbre - from Helmholtz to Sethares (2)=B7
- Terhardt's 'Two-Component' Theory of Consonance
- Intonational Tolerance and 'Zonality'
- Large n-Division Temperaments
- Further Mathematical and Analytic Approaches
- Provisional Conclusions

5. Preliminary thoughts regarding New Instruments

Woodwind
- 'Logical Woodwind' - Software Configurable Electronic Keywork
- Adaptations of Tone-Hole Configuration and Keywork
- Multiple Bore Woodwind
- Valve-Controlled Length Corrections using 'Branched Tubes'
- Alternative Tone-Hole Closure Mechanisms
- Slide (or 'Telescopic') Mechanisms
- 'Logical Feedback' Woodwind: Adaptive, Fixed & Multiple ATS; the
'Networked Orchestra'
- Alternative Woodwind Technologies in Combination

Brass
- Valve Systems
- Trumpets for Alternative Tuning Systems
- French Horn
- Multiple Bore and Keyed Brass
- 'Logical' Brass

Bowed Strings
- Virtual Frets - visual and tactile
- The 'Undulating Fingerboard'
- Logical Strings?
- Scordatura and Resonance

The Piano
- Piano Timbre and a New Piano
- Keyboard Layout and Large-Number Divisions of the Octave
- Weight, Size, Stringing
- Keyboard Action and Hammer Action
- The 'Logical' Piano
- New Technologies for Piano Tuning

- The Harp
1
- The Voice, Guitar, Organ, & Tuned Percussion (This is unfortunately
omitted )

- An Inharmonic Instrumentarium?

- Provisional Conclusions about New Instruments

6. Digital Technology and the realisation of ATS using Acoustic
Instruments

7. Conclusions

=B7 A Giant Jigsaw Puzzle
=B7 A Project Network
=B7 Harmony and Revolution

8. APPENDICES

APPENDIX I
(a) Interval zones and 'rational intervals' considered for harmonic
tones;
(b) Provisional table of smaller 'interval zones' and
intonational tolerance;
(c) Provisional table of larger 'interval zones' and intonational
tolerance.

APPENDIX II
44 tuning systems compared to the zones/ratios given in APPENDIX I .

APPENDIX III
(a) The order of approximations in 5 to 53-ET of 22 'primary'
intervals.
(b) Greatest deviations found in 5 to 53-ET of the same 22 intervals.
(c) 5 to 53-ET ordered in terms of the sum of deviations from the
same 22 intervals.
(d) 5 to 53-ET ordered by the sum of deviations
multiplied by n

APPENDIX IV
Consistency, completeness, and diameter.

APPENDIX V
A fusion model of melodic harmonicity:
(a) Explanation;
(b) Interval ratios implicit in an idealised complex harmonic tone;
(c) Preponderance of interval classes to the nth harmonic;
(d) Snapshots of preponderance at arbitrarily chosen cut-off
points.

APPENDIX VI
Examples of alternative keyboard layouts -
(a) Sims' 36-division keyboard design; a 19-divsion keyboard layout
(taken from Yasser);
(b) Bosanquet's generalised keyboard; Trasuntino's 31-division
keyboard.

APPENDIX VII
(a) String distribution and totals for a 7=BC octave piano with 12 to
41 octave division;
(b) String distribution and totals for a 6=BC octave piano with 12 to
41 octave divisions.

9. Bibliography

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End of TUNING Digest 1515
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