Yahoo Tuning Groups Ultimate Backup tuning Objection to this being an "alternative" tuning list

I want to object, respectfully, to this being an alternative tuning list.
Alternative to what? 12-tET?

Since we are tuning@.... this is the tuning list, and that should not be held
to the measurement, as an alternative to imperialistic hegemonic conventions.
There is no need for comparisons at this level.

As Margo Schulter elegantly displayed in her FAQ on microtones, there is a
perceived development, if not evolution, of meaning to the term. Clearly, I
practice the third definition. For me all music is microtonal.

In my mind, I think of the early editions of the Harvard Dictionary of Music
for the first definition, and John Cage for clearly delineating the second
(Musicage: John Cage converses with Joan Retallack, Wesleyan,1996). The
American Festival of Microtonal Music (since 1981) was established to present
a forum for alternatives to convention, and so admittedly followed this
second definition.

As the director of the AFMM, I always believed strongly in the third
definition, of a continuum of sound that had infinite points, only to be made
sensible in music. That, however, was to be nurtured in Johnny Reinhard, the
composer. I always believed, if not hoped, that there would indeed be a
development, if not evolution, of the meaning of the term, at least as it
applied in my region of the world. I could always rationalize that the
concert forum was simply a response to demand ("12 equal could be heard
anywhere else"). Now, we begin to present great works of music, wherein
12-tET is one of the tunings that has spawned great music composition. Of
course, we all recognize on this list that "early music" can be described as
microtonal by all 3 definitions of the FAQ.

It seems to me that developing a career that is visible (allowing for vital
feedback) aids greatly in development, if not the evolution, of the meaning
of things. That a "microtonal interval" can be any interval is a scary
concept to accept for some, and I am sorry for any discomfort it may elicit.
Years ago, Jonathan Glasier reviewed my views sentiments (published in the
"Microtonal Issue" of Ear Magazine) in Interval Magazine by saying my
definition had "muddied the waters," much as Daniel Wolf decried. If so, it
is the result of crystal clear imaging. By using cents, along with ratios,
one may navigate the entire continuum.

The difference between Ellis' usage of cents and mine, is that I use
imagination to create and perform, perhaps the reciprocal of his usage of
cents. I can flash the numbers to mind and hear their relationship, and then
sing or play them. He was reputed to have had a poor faculty for pitch
recognition. Incidentally, I was a poor student in classes in college for
ear training and dictation. Never had a private composition lesson (though I
did perform a 3-year phenomenological study to better describe microtonality
while attending Columbia University's Graduate School of Arts and Sciences on
a fellowship). Yep, "all music is microtonal" is the only definition that
rang, and still rings right!

Yes, there can be a constant, a nexus point that can unite all tunings, and
its location would at first seem arbitrary. I have chosen A=440 as my
constant since I can afford the one cent wiggle room, basically a biological
reality. And it is concurs with my regions' convention. This doesn't mean
that I can't switch to another pitch center (as Jon Catler prefers) and build
from there.

Last Thursday, I gave a lecture on microtonality at New York University. It
was wonderful to have a trio of my students there for support and
demonstration. And it was an exquisite evening, until my voice gave out,
after 2 hours and 15 minutes of talk/play/improvise. The 30 players
performed first in 13-limit just and then, in quartertones. People seemed to
have developed, evolved into more understanding musicians. I had carefully
instructed them on the 3 different meaning of microtones that Margo described
and left them to make up their own minds. But based on the comments at the
end, results have already taken place. This "microtonal lecture" has been
set up as an annual event at NYU.

Unless, one wants to be shackled, and I recognize the religious implications
here, I recommend only a single nexus point. Unless, of course, one is
admittedly biased and prefers a different force of gravity. There's nothing
so sublime as a monophonic modulation.

So....I object to this being an alternative tuning list.

Respectfully, Johnny Reinhard

--- In tuning@y..., Afmmjr@a... wrote:

/tuning/topicId_20049.html#20049

> I want to object, respectfully, to this being an alternative tuning
list. Alternative to what? 12-tET?

I agree 101% with Johnny Reinhard that this list should be called the
"Tuning List" instead of the "Alternate Tuning List"... that is,
unless search engines will pull up posts related to automobile
engines...

Margo Schulter's essay was, for me also, the definitive "last word"
on the "microtonal definition" topic.

The REAL term for derision should be "paucitonality." The refusal to
include a "larger universe" of tones in one's view. I'm so glad we
FINALLY have a term with to label the "opposition."

THAT'S what we should call the "enemy."

Of course, we all know there HAS to be an "enemy" out there, since
George W. Bush taught us that in the following comment (true):

"When I was growing up, it was a dangerous world, and you knew
exactly who they were. It was us versus them, and it was clear who
them was. Today we are not so sure who the they are, but we know
they're there." -- Iowa Western Community College, January 21, 2000.

_________ ______ ______ _
Joseph Pehrson

Objection to this being an "alternative" tuning list

🔗Afmmjr@aol.com

🔗jpehrson@rcn.com

🔗Joe Monzo, monz <MONZ@JUNO.COM>

🔗David J. Finnamore <daeron@bellsouth.net>