From CRI, forwarded.

I saw this and got permission to fwd it to the list.
Release date of all the Partch material is some months off
alas,

rec.music.classical.contemporary #1955 (0 + 44 more) (
)--(1)--(1)--[1]
From: crinyc@aol.com (CRInyc)
[1] Re: harry partch
Date: Tue Aug 13 12:04:31 PDT 1996
Organization: America Online, Inc. (1-800-827-6364)
Lines: 32

It's great to see all this discussion about Harry Patch! CRI has kept his
music available for more than twenty years. He's a back bone of our
catalogue not to mention the experimental tradition in American music.

When we reissued on CD The Bewitched, we made a flyer offering both our
Patch CDs plus three books by our about Partch and the video of The
Dreamer That Remains. If you e-mail CRI, we can send you this flyer by
standard U.S. mail. Of the three books offered (an annotated catalogue of
his works, Genesis of a Music, and Bitter Music), Genesis is out of print
when last we checked, but the other titles can be obtained still through
CRI.

AND, we have plans to reissue the majority of Patch's remaining Gate 5
recordings on CD. Gate 5 was Patch's own label wherein he recorded the
majority of his major works. Our two CDs of recordings are drawn from
Gate 5 material. Lots still remains -- many recordings not heard in
years. I spent a weekend last spring with Danlee Mitchell, Patch's heir,
in San Diego reviewing the material. That's all I'll say for now... It's
going to be a lot of work to get this done (two or three new CDs) with
proper notes and librettos, etc. So, my guess is winter/spring of next
year will be the time to look for a major new Patch series on CRI.

Joseph Dalton
Managing Director

COMPOSERS RECORDINGS, INC.
73 Spring Street, Suite 506
New York, NY 10012-5800
phone 212.941.9673
fax 212.941.9704
e-mail: CRInyc@aol.com


--John


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You know, I've been pondering Bill Sethares' mention of a study "that
approached octave-equivalence from a melodic perspective" (that's probably not a
direct quote, but that was the idea).

I don't know whether what I'm about to say will be perceived as...
* a pointless statement of an obvious truism,
* a surprising but insightful observation, or
* utterly preposterous nonsense,
but something dawned on me after I read that statement from Bill: As far as I
can tell, octave equivalence is ONLY meaningful from a melodic perspective.
That because the entire purpose of fusing individual tones into a chord is to
have them lose their individual identities and form a single combined sound.

Now that is not to suggest that two notes an octave apart have to be played
in sequence rather than together, for them to be appreciated as octave
equivalents. But if they are played simultaneously, you have to at least
auditorially pick the pitch of one tone out of the chord, then the other, then
compare the two. If you were not to do that, then they would be no more than
simply a combination timbre like from an organ, rather than tones that sound
like two versions of the same pitch.


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