Fwd: [tuning-math] Re: lame-ass question

OK, that's fair.

I was speaking mostly of bad recordings from the 70's
and university ensembles where people gravitate
toward 12tet even when they're singing "medieval" music.

One of my favorite things in grad school was watching
piano-heads (who's been able to escape "ethnic" music
classes)
wince at things like 81:64 while listening to early
music examples in required classes on western music.

---- Original message ----
>Date: Tue, 01 Oct 2002 23:36:35 -0000
>From: "wallyesterpaulrus" <wallyesterpaulrus@yahoo.com>
>Subject: [tuning-math] Re: lame-ass question
>To: tuning-math@yahoogroups.com
>
>--- In tuning-math@y..., <Josh@o...> wrote:
>
>> There's not a lot of really good "early music"
>> intonation out there,
>
>are you making a sweeping statement or is this supposed to
be limited
>to your record collection or whatever?
>
>> As someone who knows tuning much better than I do,
>> are you seeing any kind of a pattern?
>
>hmm . . . not at the moment . . .
>
>
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--- In tuning-math@y..., <Josh@o...> wrote:
> OK, that's fair.
>
> I was speaking mostly of bad recordings from the 70's

yeah, authentic intonation has improved since then.

> and university ensembles where people gravitate
> toward 12tet even when they're singing "medieval" music.

actually, medieval music isn't bad in 12-equal -- it's renaissance
music especially that's way off in 12-equal.

---- Original message ----
>Date: Wed, 02 Oct 2002 19:58:47 -0000
>From: "wallyesterpaulrus" <wallyesterpaulrus@yahoo.com>
...
>yeah, authentic intonation has improved since then.

Or at least, they're using something closer to intended
intervals... which may or may not have been so accurate
in original performances.
(Sorry, but "authentic" is a dirty word where I studied).

>> and university ensembles where people gravitate
>> toward 12tet even when they're singing "medieval" music.
>
>actually, medieval music isn't bad in 12-equal -- it's
renaissance
>music especially that's way off in 12-equal.

Right again. My main problem is actually with the 3rds,
which are less conspicuous in melody.

Thanks for your input so far.

Today I'm picking over free scrap metal to build
some metallophones. Naturally, I'm interested in
minimizing inharmonicity in lower partials
(or at least in avoiding partials that badly
approach those present on other instruments).
If you have any hints on shape or dimensions,
I'd be most appreciative.

--- In tuning-math@y..., <Josh@o...> wrote:

> Today I'm picking over free scrap metal to build
> some metallophones. Naturally, I'm interested in
> minimizing inharmonicity in lower partials
> (or at least in avoiding partials that badly
> approach those present on other instruments).
> If you have any hints on shape or dimensions,
> I'd be most appreciative.

i think there are some knowledgable people in this area on the tuning
list.