TUNING digest 1526

Concerning DJWOLF comments:
I strongly recommend that you all urge him to publish his insights
maybe once the scores are out! Erv Wilson devised a good notation system
for the diamond that I will post as soon as possible. As Wolf has a
great understanding of Partchs works, I feel that it isn't as easy as he
makes it sound to transcribe these works . On looking at Castor and
Pollux much of the Kithara parts are completely outside the diamond with
the I or sub I being the only tones in the 43 tone scale. With these
instruments Harmonic and subharmonic hexads exist on any of the 43 tone
scale. There is also the problem of the notated note compared to the
perceived note as with the cloud chamber bowls. Those that have worked
with any timbre with strong inharmonic partials are amazed with the
changes of sounds in different environments( figure-ground phenomenon)
and Partch ear was always his guide. These are just two problems.
Personally I feel the publishing of these scores besides offer a
great insight into the extraordinary ear of Harry Partch will also
result in an slew of bastardized performances. This has already been
the case! (no names). The performance of these works on anything besides
the original instruments ( or replicas) falls into this category. There
is also the context in which these works are presented. To present these
works alongside the sloppy intoned clusters of the likes of Ligeti ( who
recently thought to throw in a few octarooni as a tribute to Partch) is
like reading Sandanista Poetry at a republican convention. Partch drew
a line in the sand and the avant-garde attempt to "assimilate" of him
reminds me of China's method of conquering the mongol hordes (Disney is
falling for this one as we speak!).
So much is determined by beginnings (Take western doctors, who will
always be part grave robbers!) Just as in this case, there will be the
dreamers that remain, there will
be the bitterness that remains. We should be hesitant to write off this
bitterness in some pseudo Freudian explanation. Like depression, our
society is uncomfortable with such emotions. Look at all the varied
forms of chemical or electrical lobotomy at hand to avoid any such
"reflections. Yet it is this very soil out of which new growth takes
place, in Partchs case, unique beauty (the first time I've seen that
word here!).
I digress to return. There is a tendency to see music as an
"evolutionary" process where music has gradually evolved (logically)
out of the previous. But could we not as easily explain logically Bach
following Mozart as an increase of complexity for instance. Beside that
point, many seem to think that mirotonality will evolve gradually out
of the present mainstream. Partch took instead a quantum leap perhaps
knowing that western music like its religions have grown by "schisms" of
abrupt change. It is perhaps of this necessity of a true change that
caused his spirit (and bitterness) of non compromise. He understood the
strength of his enemy (and they were and still are his enemy) and he
struck as hard as he could. Show no quarter!!!!
The childless blob of the sterile avant garde hybrids are now after
Partch! What they could not defeat with artistic worth they try by
dilution, "bestowing recognition", association, and assimilation. Its an
old trick, like the Academy Awards hurriedly giving Fellini an
"honorary" award before his death. Don't accept these horses from troy
blocking our way in and out of Gate 5. And above all ,watch your back!
--
Kraig Grady
North American Embassy of Anaphoria Island
http://www.anaphoria.com

On Fri, 11 Sep 1998, Judith Conrad wrote:
> Has anyone heard of 1/5 comma Kellner temperament, which I am told was
> designed by a computer in 1979 so the beats of the intervals are natural
> harmoics of the notes and therefore 'blend in'?

Yes, it's been discussed once or twice here before. The fifths
C-G-D-A-E and B-F# are each tempered 1/5 Pythagorean comma, and all
other fifths are just. (The same fifths are tempered in Kirnberger III,
only by different amounts.) I'm skeptical about the beat rates being
special in any perceptible way, however. The idea that the temperament
was encoded in JSB's seal (another of Kellner's claims) also seems
dubious to me, although my reading of Kellner is sketchy--most of what I
know is secondhand. I'd like to know more, though--it may be he has
better supporting arguments than I know of. I guess I need to improve
my German.

--pH http://library.wustl.edu/~manynote
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/\ "Churchill? Can he run a hundred balls?"
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