Re: [tuning] More Ntets for Monzo's list:

More Ntets for Monzo's list:

8tet: Gordon Mumma (Octal Waltz, harpsichord, 1980)

9tet: James Tenney, piano part to "The Road to Ubud"

9-, 10-, 15-, 16tets: R.M.A.Kusumadinata (Sunda, from 1930s to 1960s)

10tet: according to Darreg was proposed during the French revolution

13tet: Ernst Krenek, electronic tape, I believe in a scene from the television

opera _Ausgerechnet und Verspielt_, Opus 179 1962

24tet: Boulez: Le Soleil des Eaux, original version (1948)
Ligeti: Ramifications (1969)
John Eaton: many works (I don't have much of a feel for his music, but it
might be interesting to discuss it on this list).
Brian Ferneyhough

48tet: Claus-Steffen Mahnkopf
Volker Staub

It is very difficult to count and date the explorations of Erv Wilson and Ivor
Darreg. Are Wilson's sketches and instrument designs compositions? In the
sixties and seventies Wilson had guitars or metallophones made (to my knowledge)
in 17, 19, 22, 29, 31, 41, 43, 53. At the time he left Glendale, Darreg had at
least one instrument for every tuning from 11- to 24-tet,plus 31, 34,and 53.
Darreg's compositions were often polymorpheous (I hesitate to add perverse, out
of respect for my mentor N.O. Brown who coined the term) in that he would play
his 19tet prelude in 22 or 31, in each case lengthening the metre of the piece
to accomodate the addition chromatic moves possible in the "larger"
temperaments.

If I could be excused for blowing my own horn:

8tet: Eightspace (electronic) 1981, Canons & Crosses I (electronic music for a
dance by Susan Matheke), 1988, Yet Another (Octal) for Gordon Mumma,
harpsichord, 1992.

11tet: Fughetta (electronic music for the theatre) 1996.

And a piece I've never realized satisfactorily: Grand Canon (1990) for seven
pianos or synthesizers in 7-, 8-, 9-, 10-, 11-, 12-, and 13-tet. (In this piece
the intervals in a fixed bit of material gradually stretches so that the music
modulates through the temperaments; I suspect that this process needs to happen
continuously rather than discretely, hence the continuing).

DJW
http://home.snafu.de/djwolf/

--- In tuning@y..., "Daniel Wolf" <djwolf1@m...> wrote:

/tuning/topicId_18773.html#18773

> More Ntets for Monzo's list:

Thanks, Daniel. Again, when I get around to updating my webpage,
I'll include this info. Some specific comments below...

> 13tet: Ernst Krenek, electronic tape, I believe in a scene from
> the television opera _Ausgerechnet und Verspielt_, Opus 179 1962

In fact, I was already aware that Krenek used 13-tET. I'm not
sure if this was the only piece - IIRC, the name of this opera
is not familiar to me and I think I read about another electronic
piece where Krenek used 13-tET. I'll try to do more research
on that... others who might know are encouraged to respond.

> It is very difficult to count and date the explorations of
> Erv Wilson and Ivor Darreg. Are Wilson's sketches and instrument
> designs compositions? In the sixties and seventies Wilson had
> guitars or metallophones made (to my knowledge) in 17, 19, 22,
> 29, 31, 41, 43, 53.

You're much more familiar with Wilson's work than I am. But
another difficulty with putting him on this particular list
is that it's my understanding that these various "moduli"
numbers simply refer to the number of tones per "octave", and
do not necessarily stipulate or imply that they are to be
considered equal-temperaments. Please clarify if possible.

> At the time he left Glendale, Darreg had at least one instrument
> for every tuning from 11- to 24-tet,plus 31, 34,and 53.
> Darreg's compositions were often polymorpheous (I hesitate
> to add perverse, out of respect for my mentor N.O. Brown who
> coined the term) in that he would play his 19tet prelude in
> 22 or 31, in each case lengthening the metre of the piece
> to accomodate the addition chromatic moves possible in the
> "larger" temperaments.

I'm in fairly close contact with McLaren, and very close to
Jonathan Glasier, both of whom can provide much more detail
about Darreg's work. Thanks for the tip.

Special thanks for providing info about your own work.

-monz
http://www.monz.org
"All roads lead to n^0"

--- I wrote:

/tuning/topicId_18773.html#18778

> --- In tuning@y..., "Daniel Wolf" <djwolf1@m...> wrote:
>
> /tuning/topicId_18773.html#18773
>
> > 13tet: Ernst Krenek, electronic tape, I believe in a scene from
> > the television opera _Ausgerechnet und Verspielt_, Opus 179 1962
>
> In fact, I was already aware that Krenek used 13-tET. I'm not
> sure if this was the only piece - IIRC, the name of this opera
> is not familiar to me and I think I read about another electronic
> piece where Krenek used 13-tET. I'll try to do more research
> on that... others who might know are encouraged to respond.

Just thought I'd pass on the info that Krenek was yet another
microtonalist who lived in San Diego. He spent the last few
decades of his life here, teaching at UCSD.

Hmmm... Krenek's use of 13-tET happened at a much later date
than that in my focus on my upcoming Microfest lecture, but
since he studied with Schoenberg, maybe I can still tie
a reference to Krenek into my presentation...

-monz
http://www.monz.org
"All roads lead to n^0"

Daniel Wolf wrote,

<<13tet: Ernst Krenek, electronic tape, I believe in a scene from the
television opera _Ausgerechnet und Verspielt_, Opus 179 1962>>

The reference I've seen to Krenek and 13 is "Spiritus Intelligentiae
Sanctus".

--Dan Stearns