Colloque on microtonality, Royaumont, sept96

There was at the end of september, in the Abbaye of Royaumont (near Paris,
France)an important 'colloque' on microtonality organized by "Voix=
Nouvelles"=20
(Marc Texier, director).=20

Here is the programm of the differents events:

*09/19 =20
Marcel PERES (Directeur de l'ensemble Organum): Le probleme du temperament=
=20
dans l'interpretation de la musique gregorienne.

Pedro MEMELSDORFF (Directeur de l'ensemble Mala Punica): Microintervalles=20
dans l'oeuvre de Matteo da Perugia.

Klaus HUBER (compositeur): Le tiers de ton chez Guillaume Costeley et de nos
jours.

Pierre CAZES (claveciniste): Echelles et temperaments =E0 l'epoque baroque.

Marc TEXIER (Directeur de Voix Nouvelles): Modalite, timbre :=20
les deux vecteurs d'un depassement du temperament egal au XXe siecle.

Pascale CRITON (musicologue): Les approches ultrachromatiques de la premiere=
=20
moitie du XXe siecle (Wyschnegradsky, Carrillo, Haba).

At the end of this first day there was a presentation of the followings=20
instruments : Clavicytherium, Piano-Carrilo in 1/16 of tone, microtonal=20
clavicembalo of Alain Louvier and microinterval midi keyboard by=20
Fran=E7ois Paris.

After Dinner, the public presentation of the "Theorie de la Pansonorite" of=
=20
Wyschnegradsky realised by Franck Jedrzejewsky and edited by Contrechamps,
Geneve.


*09/20
Makis SALOMOS (musicologue): Xenakis et la recherche hors-temps.=20
Theorie des Cribles. Echelles non-octaviantes.

Pierre-Abert CASTANET (musicologue)/ Alain LOUVIER (compositeur):
L'ecole microtonale en France (Bancquart, Louvier, Barbaud, Philipot,=
Ballif,
Marie, Levinas...).

Didier ASCHOUR (guitariste) : Guitares microtonales.

James TENNEY (compositeur): Les nouveaux temperaments aux Etats-Unis.

Christian POCHE (ethnomusicologue)/Klaus HUBER: Les maqams arabes et leur=20
utilisation par Klaus Huber.

Fran=E7ois PICARD (musicologue)/XU SHUYA (compositeur): Echelles dans la=20
musique chinoise et leur utilisation par Xu Shuya.

Pascal GALLOIS (bassoniste): Les nouvelles techniques du basson illustrees
par des extraits d'oeuvres de Berio, Hersant et Taira.

Harry STARREVELD (fl=FBtiste): La flute en 1/4 de ton.


*09/21
Philippe LEROUX (compositeur): De l'action sonore au processus.

Fran=E7ois PARIS (compositeur): "Anamorphose et oblique dans la musique
d'aujourd'hui". Vers de nouveaux temperaments. Claviers midi microtonaux.

Marc TEXIER: Temperaments, echelles sonores, microintervalles : une nouvelle
frontiere de la musique.

Brian FERNEYHOUGH (compositeur)/Trio Contrechamps (I.Magnanat,vl; J.Sulem,=
alto;
D.Haefliger, vlc): Analyse du Trio =E0 cordes de Brian Ferneyhough.
Oeuvre en 1/8 de ton. Execution commentee de cette oeuvre en avant premiere.


This "colloque" was, at my knowledge, the first big event on microtonality=
=20
in France with such a diversity of approaches.
I wish it is the beginning of a real interest for other tunings...

Didier Aschour


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For you folks out there who have also been experimenting with 88CET, the two
cases in Manuel's 88CET calculations that struck me as especially interesting
were:

------------------------------------------------------------------------------

1: 4 2: 7 3: 10
88.2160 cents, 13.6030/oct. Std. dev: 2.9412 cents
1: 11/9 -5.4561 undecimal neutral third
2: 10/7 -0.0242 septimal augmented fourth, Euler's tritone
3: 5/3 2.1987 major sixth

1: 3 2: 4 3: 10
88.2707 cents, 13.5946/oct. Std. dev: 3.1293 cents
1: 7/6 2.0588 septimal minor third
2: 11/9 -5.6749 undecimal neutral third
3: 5/3 1.6517 major sixth

------------------------------------------------------------------------------

I found them particularly interesting, because stretching the step size to 88
1/4 cents or thereabouts, would make the 41-step triple-octave approximation
pretty far off. It would be sufficiently far off to make that tuning pretty
much unequivocally different from simply every third step of 41TET.

Perhaps that's something of an ignoble goal - making it different just to be
different. I suppose that's a matter of perspective. But it's a thought
anyway.