Reply to Johnny Reinhardt, microtonal clarinet

Johnny: I didn't mean to give the impression that I was deliberately
not citing Pitch 1:4 (or other issues, all of which are back in Houston
and out of sight, etc.). I came across Richards's dissertation quite by
chance and thought I'd bring it to everyone's attention, though I suspected
that you might already know of it or of him.
BTW, Richards is at Hamilton College in Clinton, NY and has
been very active publishing and performing. One of his colleagues
forwarded my post to him and he emailed me with some information about his
books on microtonal performance. Needless to say, I have invited him to
join the Tuning list. I also mentioned you and the AFMM series.

--John

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mcgeary thomas nelson wrote,

> I would strongly suggest an underrecognized and appreciated article by
> Rudolph Rasch, "Does 'Well-Tempered'Mean 'Equal Tempered'?" in "Bach,
> Handel, Scarlatti: Tercentenary Essays, ed. by Peter Williams.

Thanks; I just read it. My conclusion: it's O.K. to tune your harpsichord
in equal temperament, after all. (If I'm playing someone other than Bach,
the other composer will just have to yield priority... :-))

Rasch's paper illustrates a rule I've had for some years now: If you
don't like a conclusion some historian of performance practice has reached,
just wait.

--
Tom Parsons | To me, being an intellectual doesn't mean knowing
D.T.L. | about intellectual issues; it means taking
| pleasure in them. --Jacob Bronowski

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