different approaches to microtonality

[me:]
>>> Isn't Joe Manieri still teaching in Boston?

[Erlich:]
>> Yes, he teaches 72-tone equal temperament at New England
>> Conservatory without any regard to its excellent
>> approximations of simple-integer ratios.

[Wolf:]
> This, essentially, is the same approach taken by
> Carrillo, Haba and Wyschnegradsky in an earlier
> generation or by Ferneyhough & Co. nowadays: the use
> of microtones to create a highly inflected musical surface.
> One of Partch's initial impulses, to accurately represent
> the inflections of a speaking voice was not unrelated
> to this view. The alternative approach, whose pioneers
> were Lourie, Novaro, Partch (slightly later), Fokker, and
> Wilson, is probably more central to the interests of the
> tuning list membership, is certainly a deeper view of
> musical materials, but one which does not automatically
> dismiss the other aesthetic.

Excellently put, Daniel.

How about going into a little more depth about that
"alternative approach...more central to the interests
...certainly a deeper view..."?

|\=/|.-"""-. Joseph L. Monzo...................monz@juno.com
/6 6\ \ http://www.ixpres.com/interval/monzo/homepage.html
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_U//_/-/__/// | "...I broke thru the lattice barrier..." |
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Message text written by INTERNET:tuning@onelist.com
>Excellently put, Daniel.

How about going into a little more depth about that
"alternative approach...more central to the interests
...certainly a deeper view..."?
<

I don't think that this is far from the views of most list participants.
I've written an article on this topic which will be published in the
Contemporary Music Review issue on microtonality. In brief, I try to
distinguish between simply using microtones and using microtones as a
consequence of an intonationally articulated extended harmony.