Report on MicroFest

The following is a little report on MicroFest which will be appearing
in the "New Music Connoisseur" magazine. Probably it will have to be
cut some...

In any case, comments and criticisms are encouraged, since this is
still a working draft.

MicroFest 2001, organized by Bill Alves of Harvey Mudd College took
place in Claremont, California, a college town near Los Angeles on
April 6-8, 2001. The event was a bit reminiscent of Johnny
Reinhard's similarly named New York MicroFest of 1988 in that it
combined a series of concerts with lectures on alternate tunings.
All in all, the Claremont MicroFest was an exciting celebration of
music and thinking "outside the box" as it were, of 12-tone equal
temperament, our "standard" system.

Among the special guests were Lou Harrison, who needs little
introduction as one of our preeminent American composers and Erv
Wilson, an innovative creator of alternate tuning systems. The final
concert of the event, in fact, was entirely devoted to the works of
Lou Harrison and spanned his entire career including, in fact, one
early piece that was in 12-tone equal temperament. Actually, it was
quite a good piece, a work for organ that showed Harrison's early
chromatic style that was, quite frankly, more related to Carl Ruggles
than to Arnold Schoenberg. Throughout ALL of Harrison's music there
is one constant -- expressivity. Most of his works have a soaring
melodic line which in the later works, of course, is in an alternate
tuning. Additionally, there was some research done (Harrison called
it "mining" at the event) on some of his very early pieces, one The
Geography of Heaven composed in High School! In this piece, Harrison
was already using quartertones to approximate the harmonic series,
having learned about microtonality through study of Henry Cowell,
Julian Carrillo and Alois Haba scores.

In the realm of entertaining MicroFest lectures, Erv Wilson stands in
the forefront. I was quite prepared for the Erv Wilson lecture,
since I have studied some of his systems and understand they are
quite complex. I had reams of paper for note taking and a scientific
calculator handy. I took a deep breath and waited for the onslaught
of complex mathematics and systematic tuning theories. None such
happened. Instead, there appeared a rather jovial man with many
entirely entertaining molecular models of tuning systems. These
models (called Zometools) are borrowed from chemistry, and pitches
are represented three dimensionally with these plastic models which
can be assembled like "Lego" toys. Plastic vertices are stuck
together with each point (called a "Zome ball") representing a pitch.
Some of Wilson's models are very large, let's say a couple feet in
diameter, and incredibly complex. The larger ones also "evolve" from
duplication of some of the smaller components. In a handout, Wilson
illustrated some of the complex pitch relationships. However, he had
intentionally designed the lecture to be entertaining even to a
novice, and the beautiful lattices were shown with a gently pulsating
soundtrack in the background. Wilson took us to a different world of
exploration and creativity and managed to convey the excitement he
feels with such discoveries. This communication was every bit as
important as the specifics, which we can all learn in time.

In addition to the lectures and the concerts, there was an
"Electronic Music Listening Room" which went on during the course of
theFestival. There were three programs, two audio (the present author
of this article had two pieces on these programs) and one video.
This included the Madeline Tourtelot film, The Music Studio, which
showed Harry Partch illustrating and playing many of his new
instruments. As mentioned by composer Warren Burt at the event, this
film belies the statement that Partch was a "technophobe" since he
used multi-track recording technology to create a "one man band" in
his recordings of that time.

As is the case with many conferences of this nature, it was
impossible to see and hear everything, since there were events
occurring simultaneously. Therefore, I missed some crucial lectures,
mostly during the time I spent in the Electronic Listening Room.
However, a couple of lectures stand out: an excellent lecture by
David Doty illustrating his compositional techniques in just
intonation,and a demonstration by Australian composer Greg Schiemer.
Doty used a laser pointer and projected transparencies to show his
use
of "comma shifts" in his music as a melodic element. He pointed to
the pitches he used in his pieces by referring to a projected lattice
and pointing out the pitches as they were played on a CD. This was a
VERY clear and graphic presentation. Greg Schiemer is involved in
exceptionally accelerated music thinking, working with the Erv Wilson
"hexany" system and even creating battery-powered portable
instruments
that can be controlled and programmed with cell-phone technology!
Schiemer is clearly on the forefront of new music thinking.

The second concert of the Festival (I did not arrive in time for the
first) was a retrospective of the works of Harry Partch. There were
some magnificent performances on this concert, which was organized
and directed by virtuoso Partch interpreter and guitarist, John
Schneider. Schneider has perfected some of his Partch performances to
what might be termed an "historical" level. His performance of the
Partch Barstow: Eight Hitchhiker's Inscriptions (1941) which was
performed three years ago on Johnny Reinhard's AFMM concerts, is now
at an incredible level of perfection. Using an adapted guitar in a
29-tone system, Schneider delivers a musical and technically polished
performance. It's even ambulatory, as he enters and moves around the
auditorium! A curiosity was an early Partch song in 12-equal
temperament. Generally speaking, Partch managed to destroy all his
early works in conventional temperament. This piece, however, My
Heart Keeps Beating Time, managed to escape destruction, since it was
an early publication. I agree with microtonal expert Joe Monzo,
that this is really quite a fine song. Perhaps it can lead some
credence to the fact that an interesting composer is just that,
regardless of any tuning system. But, of course, alternate tunings
are an integral part of the later Partch.

Concert III on Saturday afternoon contained a couple of highlights,
Kraig Grady's Opening Invocation for a Shadow Play and an electronic
work by Shahrokh Yadegari. Grady's piece plays upon beats created by
xylophone tones close in pitch. He uses a small xylophone that he
has retuned in one of his original tuning systems. (Most modeled
after theories of Erv Wilson). This beating is used very effectively
as an integral element in the composition and there is always a sense
that Grady is quite an accomplished composer. Likewise, Shahrokh
Yadegari's electonic piece was masterful, using quadraphonic
electronic techniques perfected in his studies at IRCAM in Paris. In
addition, he is interested in incorporating aspects of Persian music
in his efforts, and the mix is quite original.

Highlights of Saturday night's concert, Concert IV, included a piece
by composer/mathematician David Canright and Kyle Gann's recent
masterwork, Custer and Sitting Bull. The Canright piece used rhythms
derived from the Fibonacci series (remember, 1,1, 2,3,5,8,13, 21…
each subsequent number the sum of the two previous) and the resulting
work for piano SEVEN hands produced an audible variety resulting from
his sophisticated rhythms. Four guys sitting on a piano bench in
this piece might look a little hokey, but it was mostly just a bit
comical and the result was well worth it. Because of the rhythmic
complexities inherent in this work, Canright conducted in front of
the piano. Kyle Gann, noted composer and music critic, has been
presenting his "Custer piece" everyplace -- 18 times so far by his
count. Essentially, it is a theatre work and Gann plays the part of
BOTH Custer and Sitting Bull, the two opposing "male egos" in the
clash between the American Indian culture and the white man. There
is some great opportunity for "white male humiliation" in this piece
and, understandably, the piece has been quite popular, considering
the Zeitgeist. The work, delivered and entirely memorized by Gann is
about an hour in length, and takes us on a tour of several different
tunings: a scale of 20 pitches in one part, 22-to-the-octave in
another section, and 30 in yet another. It's a real "tour de force."
Since the MicroFest was an event-filled long weekend, there was,
obviously, much more music and discussion of value than can be
described here. The overall format, however, of BOTH seminars AND
concerts, pioneered by Johnny Reinhard in the original New York
MicroFest and continued in Bill Alves' recent California one, seems
fruitful. There is nothing like presenting theories IN ACTION in
real music, and the Claremont MicroFest fulfilled the aims of
describing new ways of composing, thinking about music and presenting
actual musical results!

JOSEPH PEHRSON

Joseph,

Sorry that we didn't cross paths, as I left after the Partch concert
due to previous commitments. Next time...

--- In tuning@y..., jpehrson@r... wrote:
> In any case, comments and criticisms are encouraged, since this is
> still a working draft.

Even me? Well, FWIW...

> Among the special guests were Lou Harrison

One could say, as the Festival *did* say, that Lou was *the* special
guest.

> including, in fact, one early piece that was in 12-tone equal
> temperament. Actually, it was quite a good piece, a work for
> organ ...

I'll come back to this, but you seem to mention 12tet pieces a couple
of times, saying that they are 'quite good' -- but isn't the point of
a festival to focus on other stuff (which I acknowledge you cover at
length)? There are so many places people can read about 12tet, why
here. Unless your audience couldn't possibly stand to be without it
for too long... :)

> This included the Madeline Tourtelot film, The Music Studio, which
> showed Harry Partch illustrating and playing many of his new
> instruments.

Tiniest of nits to pick: the film is titled "Music Studio -- Harry
Partch".

> As mentioned by composer Warren Burt at the event, this
> film belies the statement that Partch was a "technophobe"
> since he used multi-track recording technology to create a
> "one man band" in his recordings of that time.

I disagree that many would think Partch a "technophobe". Most learned
readers know that Partch was involved in recordings very early on,
that he was a hands-on person in virtually every aspect of
his 'career', including learning the use of tools, recording
equipment, and the like. From the acetate recordings of the 1940's
through sitting with him in a multi-track studio in 1971, he was
always keen to at least *understand* the technology.

And then go out and perform live!

Also, the "one-man band" is misleading: while that may have been the
effect, especially in Tourtelot's somewhat camped-up film, it was
more economic -- at this point he had no ensemble, wanted to create
the film score to "Windsong", and ended up finding a way to record
all the parts himself.

> Greg Schiemer is involved in exceptionally accelerated music
> thinking, working with the Erv Wilson "hexany" system and even
> creating battery-powered portable instruments that can be
> controlled and programmed with cell-phone technology!
> Schiemer is clearly on the forefront of new music thinking.

Somebody: ask Greg to post his current activities here!

About John Schneider's Partch concert:

> His performance of the
> Partch Barstow: Eight Hitchhiker's Inscriptions (1941) which was
> performed three years ago on Johnny Reinhard's AFMM concerts, is
> now at an incredible level of perfection. Using an adapted
> guitar in a 29-tone system, Schneider delivers a musical and
> technically polished performance.

Except that he will have to work on projection, as in all the vocal
works, since he happens to have a light and mellow timbre to his
voice; we have spoken about this, but I know that in the back of the
room some of the lyrics, especially in other pieces, were difficult
to catch.

Also, Schneider has performed it elsewhere on numerous occasions --
even if the article is only for New Yorkers, 3 mentions of Johnny
Reinhard and his amazing MicroFest (was he in attendance at
Claremont) seems a bit heavy on the plugging.

> It's even ambulatory, as he enters and moves around the
> auditorium!

Duh! Wouldn't one hope for this in a Partch performance? Yes, this is
just the *first* step on the road to a truly corporeal rendition. In
May things will go even farther, I predict...

> A curiosity was an early Partch song in 12-equal
> temperament. Generally speaking, Partch managed to destroy all his
> early works in conventional temperament. This piece, however, My
> Heart Keeps Beating Time, managed to escape destruction, since it
> was an early publication.

Written and published under the name "Paul Pirate".

> I agree with microtonal expert Joe Monzo, that this is really quite
> a fine song. Perhaps it can lead some credence to the fact that an
> interesting composer is just that, regardless of any tuning
> system.

If true, wouldn't it also mean that a weak composer will be a weak
composer, no many how many different styles or intonations they try
their hand at? Perhaps it just means that a person who accompanied
silent films for years and heard many recordings and radio broadcasts
of popular forms could work likewise.

In any event, it's up to you if you choose to spend half of the
Partch section on a 12tet piece (which is why I'm not fond of the
overly long inclusion on the concert from "Bitter Music"), and that
is your call. On the other hand, there was a lot of fine Partchian JI
music, including pieces with Schneider's brand new diamond marimba,
which is not just a collection of cardboard tubes, but a very, very
finely crafted instrumental creation.

> Grady's piece plays upon beats created by xylophone tones close in
> pitch. He uses a small xylophone that he has retuned in one of
> his original tuning systems.

Again, just a question of accuracy: I wasn't there, but in previous
performances I have seen Kraig using metallophones, and when you
mention the beating I have to think that xylophones, which are wooden-
barred with short duration, is not what he was using, but instruments
(with bars similar to vibraphones and glockenspiels) of metal bars.

Looks like you had a great time, Joe, and it is good that you are
spreading the word along. Bill Alves done good on this one.

I don't know the format of the article, but if you need photos, I
took a few on Friday, in digital format, and could send them to you
(including "microtonal expert Joe Monzo"). And David Doty was taking
a lot of photos as well. How do I know? HEY DAVID! Turn off he 'beep'
on that Olympus digital camera!!! :)

Cheers,
Jon

--- In tuning@y..., JSZANTO@A... wrote:

/tuning/topicId_20933.html#20944

> Joseph,
>
> Sorry that we didn't cross paths, as I left after the Partch
concert due to previous commitments. Next time...
>
> --- In tuning@y..., jpehrson@r... wrote:
> > In any case, comments and criticisms are encouraged, since this
is
> > still a working draft.
>
> Even me? Well, FWIW...
>

Thanks, Jon, for your prompt posting of additions/corrections to my
article on the MicroFest. Yes, there are several things to be
changed... the worst is the fact that Kraig Grady was using an
adapted vibraphone, NOT a xylophone in his performance. That was
just a slip... I knew better.

Regarding the photos... yes, please send them along electronically
and I will forward them to the editor... not sure he will use them
but still...

Thanks for the help...exactly why I posted this article!

Joe

_______ _____ _______ _____
Joseph Pehrson

Alas, I could not make it out to L.A. this time around. It is rewarding to
hear of the success that folks in California made of the past weekend in
furthering their work by introducing it to others.

So far I've fed only off some bits of enthusiasm, lacking the details.
Thanks to Joseph Pehrson, I am forming a better picture. I'm sure Joseph
Pehrson wanted to write from his own experiences, and they include earlier
New York MicroFests, including the 8-day New York MicroFest of '88. People
on the West Coast don't always know what has happened in the East Coast, and
vice-versa, so we inform.

Re writing about 12-tET, it's not all Bitter Music. On the positive side,
it provides some listeners a reference for the kaleidoscope of tuning
possibilities. It is especially worthwhile for me to hear of Partch as
successful using it since there is disparagement, even among original Partch
ensemblers, that Harry's music is not strong enough compositionally without
the later exotic percussion. (of course, I disagree)

Re Jon Szanto, don't knock AFMM usage of the tubed marimba in your responses
(it was an exceptionally valuable musical resource for Dark Brother). The
original recording made by Partch used a bass drum instead (and the Bass
Marimba was added much later). I played them and vocalized "corporeally" and
repeated slights are anal at best. A tubed-diamond marimba could not work
(so don't fear all holders of original Partch instruments). However, Skip
LaPLante spent over a year constructing a wonderful "traveling" Kithara. It
takes 2 full days to build and a single day to dissemble. The materials cost
$1000 and it was built to Partch's specifications. It's time for Jon to
increase his seretonin levels and to stop disparaging others, even it has
been traditional for him to so.

Respectfully, and wishin' I could have been there, Johnny Reinhard

--- In tuning@y..., JSZANTO@A... wrote:
/tuning/topicId_20933.html#20944

> I'll come back to this, but you seem to mention 12tet pieces a
couple of times, saying that they are 'quite good' --

Mmmm, mmmm, good! Love that 12-tET!

>

> About John Schneider's Partch concert:
>
>
> In any event, it's up to you if you choose to spend half of the
> Partch section on a 12tet piece (which is why I'm not fond of the
> overly long inclusion on the concert from "Bitter Music"), and that
> is your call. On the other hand, there was a lot of fine Partchian
JI music, including pieces with Schneider's brand new diamond
marimba, which is not just a collection of cardboard tubes, but a
very, very finely crafted instrumental creation.
>

Hi Jon...

Actually, in deference to your wishes, I am going to eliminate the
commentary on "My Heart Keeps Beating Time" and, instead, I'm going
to mention the performance of "Three Intrusions" with the new Diamond
Marimba.

However, DOES ANYBODY KNOW who constructed the new diamond marimba
for John Schneider...?? I don't believe he made it himself... or did
he??

In any case, that will eliminate one mention of 12-tET. The other,
the Ruggles case with Harrison I will keep, since I never knew about
the Ruggles influence...

best

_______ ____ ______ ____
Joseph Pehrson

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

/tuning/topicId_20933.html#20950

>
> Re writing about 12-tET, it's not all Bitter Music. On the
positive side, it provides some listeners a reference for the
kaleidoscope of tuning possibilities. It is especially worthwhile for
me to hear of Partch as successful using it since there is
disparagement, even among original Partch ensemblers, that Harry's
music is not strong enough compositionally without the later exotic
percussion.

whoaboy!.... now, I've got to think about this, Jon Szanto! If
Johnny Reinhard found this commentary about Partch so interesting,
perhaps I will leave it in!!!!

_______ ______ ______ ___
Joseph Pehrson

JSZANTO@ADNC.COM schrieb:

> > This included the Madeline Tourtelot film, The Music Studio, which
> > showed Harry Partch illustrating and playing many of his new
> > instruments.
>
> Tiniest of nits to pick: the film is titled "Music Studio -- Harry
> Partch".

Please,
does anyone know of a distribution for these Tourtelot films (the
Music Studio and Wind Song)? It might still not help me to get them
overseas, but at least I'd have a place to start asking...

Klaus

klaus schmirler wrote:
>
> JSZANTO@ADNC.COM schrieb:
>
> > > This included the Madeline Tourtelot film, The Music Studio, which
> > > showed Harry Partch illustrating and playing many of his new
> > > instruments.
> >
> > Tiniest of nits to pick: the film is titled "Music Studio -- Harry
> > Partch".
>
> Please,
> does anyone know of a distribution for these Tourtelot films (the
> Music Studio and Wind Song)? It might still not help me to get them
> overseas, but at least I'd have a place to start asking...

http://amazon.com

--
* D a v i d B e a r d s l e y
* 49/32 R a d i o "all microtonal, all the time"
* http://www.virtulink.com/immp/lookhere.htm
* http://mp3.com/davidbeardsley

Joe,
--- In tuning@y..., jpehrson@r... wrote:
> Thanks for the help...exactly why I posted this article!

No problem, happy to (I had a good time, even if just one day). I'm
just checking mail and jamming off for a short trip, so I'll get the
photos to you tomorrow (not much to show, sorry).

Jon

Johnny,

--- In tuning@y..., Afmmjr@a... wrote:
> Pehrson wanted to write from his own experiences, and they include
> earlier New York MicroFests, including the 8-day New York MicroFest
> of '88.

Yes, that was reportedly a fine gathering, but a bit dated for
topical reference.

> Re writing about 12-tET, it's not all Bitter Music.

Good one, JR!

> On the positive side,
> it provides some listeners a reference for the kaleidoscope of
> tuning possibilities. It is especially worthwhile for me to hear of
> Partch as successful using it since there is disparagement, even
> among original Partch ensemblers, that Harry's music is not strong
> enough compositionally without the later exotic percussion. (of
> course, I disagree)

Johnny, with all the respect I can muster, it is terrible of you to
make such false claims! I personally know of *zero* "Partch
ensemblers" that have ever, or *would* ever, cast a doubt on Partch's
non-percussion compositions. While all composers have strong and weak
moments in their entire output, there is no dividing line between the
early works and later works in terms of intrinsic quality. If you
*ever* make such claims, you better be prepared to back up such loose
statements with fact.

"Bitter Music" was, in Partch's intentions, destroyed. What he didn't
realize was that Lauriston Marshall had kept a copy and microfilmed
it, which is why we have it today. It is a valid and important
chronicle of part of HPs life and arc. When and if it is performed,
it should be seen in that light. However, including it as the bulk of
a program, with a singer sitting at a grand piano, certainly distorts
the stated path of this particular composer. It should not be
censored, but anyone with good taste and care for a composer's
aesthetics would use all consideration in it's programming.

> Re Jon Szanto, don't knock AFMM usage of the tubed marimba in your
> responses (it was an exceptionally valuable musical resource for
> Dark Brother).

I will, I have, and there are justifiable reasons. See below.

> The original recording made by Partch used a bass drum instead (and
> the Bass Marimba was added much later). I played them and
> vocalized "corporeally" and repeated slights are anal at best.

I do think that is my first mention of it. I bring it up because a
couple of people have written me in the intervening days, having seen
the Barb performance, and found it ludicrous.

> A tubed-diamond marimba could not work
> (so don't fear all holders of original Partch instruments).
> However, Skip LaPLante spent over a year constructing a
> wonderful "traveling" Kithara. It takes 2 full days to build and a
> single day to dissemble. The materials cost $1000 and it was built
> to Partch's specifications.

Long ago I wrote you, Johnny, after careful listening to your
performance of "U. S. Highball", including commentary on the usage of
the Kithara. In a number of places I was sure that it was an octave
off, and that was among a number of other problems. You never replied
back, so you don't want to own up to any problems that might crop up.

But about the instruments in general, I find Skip LaPlante speaks
well enough himself:

From "Mailing Tube Drums and Styrocellos: Two Really Simple
Instruments"

"Over the years members of the group Music for Homemade Instruments
have created a huge collection of instruments from trash, most of
which are notable for sounding good, looking hideous, and using
readily available materials in a very basic way."

Jon: Looking hideous. Well, there is someone in tune with Partch's
stated goal of "visual beauty".

================

"As I got into making instruments Partch became sort of a beacon. I
was most interested in his incredible collection of timbres, a bit
overwhelmed by the tuning theory and not very interested in
corporeality."

Jon: Yes, HP encountered many people with similar tastes during his
life. This quote sounds amazingly like Partch's stories of the
Hollywood film composers, who wanted his instruments just for the
quirky sounds and nothing else.

================

"I built a copy of Harry Partch's New Kithara in 1988 as a project
for a residency at Newark Community School for the Arts. Suddenly I
became indespensible as the instrument builder for the American
Festival of Microtonal Music. I'm the guy who gets to go build some
weird instrument that we can't get but is critical to play some piece
Johnny Reinhard wants to try, then I learn how to play the instrument
and perform with it. Some job description."

Jon: Some attitude. Look, someone could make a great instrument, to
specs, completely unaware of it's eventual use. But these statements
seem to reinforce the impressions that a number of people have
gathered from this performance.

> It's time for Jon to increase his seretonin levels and to stop
> disparaging others, even it has been traditional for him to so.

I have a lot of my life invested in one particular musical avenue,
which is clear to all. When I hear, at concerts I haven't been able
to attend, that performers are taking a liberties in aesthetics and
performance standards that go beyond the pale, I won't look the other
way. I frankly look at Partch as much more than a way to make a name
for oneself, which others do.

I've also roundly applauded the efforts of those that make the
microtonal scene happen in a musically valid way, so you are just
ignoring the recent posts that are lauditory. Unending "pat on the
back" homilies may make some in a small community (which MicroFest
surely attests to it's still smallness), it doesn't address larger
issues.

If one cares, one speaks.

Respectfully,
Jon

>However, DOES ANYBODY KNOW who constructed the new diamond marimba
>for John Schneider...?? I don't believe he made it himself... or did
>he??

John commissioned it from Bill Slye, who built it mostly in Lou's (formerly
Bill Colvig's) work room. Bill, you may recall, attended the conference and
served as Lou's assistant. Bill is a composer and JI guitarist as well.

Bill

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
^ Bill Alves email: alves@hmc.edu ^
^ Harvey Mudd College URL: http://www2.hmc.edu/~alves/ ^
^ 301 E. Twelfth St. (909)607-4170 (office) ^
^ Claremont CA 91711 USA (909)607-7600 (fax) ^
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Joe,

--- In tuning@y..., jpehrson@r... wrote:
> > About John Schneider's Partch concert:
> Hi Jon...
>
> Actually, in deference to your wishes, I am going to eliminate the
> commentary on "My Heart Keeps Beating Time" and, instead, I'm going
> to mention the performance of "Three Intrusions" with the new
Diamond
> Marimba.

It was just a thought, and it is up to you. But I think it is a wise
move.

> However, DOES ANYBODY KNOW who constructed the new diamond marimba
> for John Schneider...?? I don't believe he made it himself... or
did
> he??

No, he didn't, and at least two people were involved. John has just
left on Monday for a two-week concert tour to Italy, but I may be
able to find out from another source, and I'll check my emails in the
past from John. I'll write late tonight or early tomorrow.

> In any case, that will eliminate one mention of 12-tET. The other,
> the Ruggles case with Harrison I will keep, since I never knew
about
> the Ruggles influence...

Sounds like a plan!

Cheers,
Jon

Klaus,

--- In tuning@y..., klaus schmirler <KSchmir@z...> wrote:
> Please,
> does anyone know of a distribution for these Tourtelot films (the
> Music Studio and Wind Song)? It might still not help me to get them
> overseas, but at least I'd have a place to start asking...
>
> Klaus

Four Tourtelot/Partch projects are gathered together on "Enclosure
One", from American Composers Forum / Innova. See it at:

http://www.corporeal.com/freshpix.html

These would be NTSC; if you need PAL video versions, you can contact
Roger Merrick of the British Harry Partch Society, who distributes
from England: bhps@supanet.com

Cheers,
Jon

Bill,

--- In tuning@y..., Bill Alves <ALVES@O...> wrote:
> John commissioned it from Bill Slye, who built it mostly in Lou's
(formerly
> Bill Colvig's) work room. Bill, you may recall, attended the
conference and
> served as Lou's assistant. Bill is a composer and JI guitarist as
well.

Thanks, Bill. I thought John mentioned that someone else had worked
on it, i.e. someone built the basic instrument, and someone else
made/tuned the bars? Maybe I'm still blissed from your gamelan/string
instrument concert...!

Cheers,
Jon

>Thanks, Bill. I thought John mentioned that someone else had worked
>on it, i.e. someone built the basic instrument, and someone else
>made/tuned the bars? Maybe I'm still blissed from your gamelan/string
>instrument concert...!
>
Thanks, Jon! It could be that Bill had help. Though I believe Bill and Lou
are in Joshua Tree right now (and John Schneider, as you pointed out, is in
Italy), when Bill gets back we can ask directly. His email is
bsly@cruzio.com. I do know that Bill has had a lot of experience building
and tuning wooden bars and has built his own JI marimba. He is able to tune
the partials of the bars to be harmonic, which he considers very important
to the success of such JI instruments.

Bill

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
^ Bill Alves email: alves@hmc.edu ^
^ Harvey Mudd College URL: http://www2.hmc.edu/~alves/ ^
^ 301 E. Twelfth St. (909)607-4170 (office) ^
^ Claremont CA 91711 USA (909)607-7600 (fax) ^
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

[tuning] Digest Number 1225
>Message: 4
> Date: Thu, 12 Apr 2001 06:54:30 -0000
> From: JSZANTO@ADNC.COM
>Subject: Re: Report on MicroFest

>> Greg Schiemer is involved in exceptionally accelerated
music
>> thinking, working with the Erv Wilson "hexany" system and
even
>> creating battery-powered portable instruments that can be
>> controlled and programmed with cell-phone technology!
>> Schiemer is clearly on the forefront of new music
thinking.
>
>Somebody: ask Greg to post his current activities here!

G'day Jon, you just did!

I'm currently rewriting the paper I presented at Microfest.
As I don't have a web-page, maybe someone can suggest a
refereed on-line electronic journal where I can submit this
for publication complete with audio examples. The revision
will shed more light on the J2ME stuff than I did at the
conference putting this in context with the Tupperware
Gamelan which I began building long before I developed an
understanding of JI. People can find more information about
the Tupperware Gamelan in my Leonardo article (LMJ9). At the
same time I'd also like to finish the Csound version piece
"Tranposed Hexanies" to my satisfaction. A few people at
MicroFest asked for more information on the transposition
algorithm I wrote for the piece. I could share the relevant
sample of Csound code or the Scala CMD file that generates
the tables if anyone on the list would find these useful.

What a pleasure it was to be at MicroFest, to see all those
wonderful instruments and hear all those exhilarating
performances! what a privilege it was to meet with those who
knew and worked with Harry Partch! I was amazed by the
enthusiasm and energy that abounded. Bill Alves really
deserves to be commended for his role in organising the
whole event so effectively. To Bill and all the other true
believers who made the whole trip worthwhile, my sincere
thanks.

[tuning] Digest Number 1225
>Message: 4
> Date: Thu, 12 Apr 2001 06:54:30 -0000
> From: JSZANTO@ADNC.COM
>Subject: Re: Report on MicroFest

>> Greg Schiemer is involved in exceptionally accelerated
music
>> thinking, working with the Erv Wilson "hexany" system and
even
>> creating battery-powered portable instruments that can be
>> controlled and programmed with cell-phone technology!
>> Schiemer is clearly on the forefront of new music
thinking.
>
>Somebody: ask Greg to post his current activities here!

G'day Jon, you just did!

I'm currently rewriting the paper I presented at Microfest.
As I don't have a web-page, maybe someone can suggest a
refereed on-line electronic journal where I can submit this
for publication complete with audio examples. The revision
will shed more light on the J2ME stuff than I did at the
conference putting this in context with the Tupperware
Gamelan which I began building long before I developed an
understanding of JI. People can find more information about
the Tupperware Gamelan in my Leonardo article (LMJ9). At the
same time I'd also like to finish the Csound version piece
"Tranposed Hexanies" to my satisfaction. A few people at
MicroFest asked for more information on the transposition
algorithm I wrote for the piece. I could share the relevant
sample of Csound code or the Scala CMD file that generates
the tables if anyone on the list would find these useful.

What a pleasure it was to be at MicroFest, to see all those
wonderful instruments and hear all those exhilarating
performances! what a privilege it was to meet with those who
knew and worked with Harry Partch! I was amazed by the
enthusiasm and energy that abounded. Bill Alves really
deserves to be commended for his role in organising the
whole event so effectively. To Bill and all the other true
believers who made the whole trip worthwhile, my sincere
thanks.

--- In tuning@y..., jpehrson@r... wrote:

/tuning/topicId_20933.html#20951

> Hi Jon...
>
> Actually, in deference to your wishes, I am going to eliminate
> the commentary on "My Heart Keeps Beating Time" and, instead,
> I'm going to mention the performance of "Three Intrusions" with
> the new Diamond Marimba.

In the opinion of this "microtonal expert", you should leave
it in. "My Heart Keeps Beating Time" is a damned fine piece
of music. So what if it's in 12-tET? I find myself humming
it far more often than many of Partch's JI tunes. And it
*was* performed at Microfest, in *both* versions!... which
makes it valid for coverage in your review.

-monz

--- In tuning@y..., JSZANTO@A... wrote:

/tuning/topicId_20933.html#20957

> Joe [Pehrson],
> ... I'm just checking mail and jamming off for a short trip,
> so I'll get the photos to you tomorrow (not much to show, sorry).

Just thought I'd note that I'm not too crazy about the pic of
me. But thanks for taking it and sending it to me anyway, Jon!
And, not being picky about things like this, you can still go
ahead and use it if you want, Joe.

-monz

Joe and Joe,

--- In tuning@y..., "monz" <MONZ@J...> wrote:
> --- In tuning@y..., JSZANTO@A... wrote:
> /tuning/topicId_20933.html#20957
>
> > Joe [Pehrson],
> > ... I'm just checking mail and jamming off for a short trip,
> > so I'll get the photos to you tomorrow (not much to show, sorry).
>
> Just thought I'd note that I'm not too crazy about the pic of
> me. But thanks for taking it and sending it to me anyway, Jon!
> And, not being picky about things like this, you can still go
> ahead and use it if you want, Joe.

Joe M., I know it wasn't real flattering -- blame it on your sell-out
audience, and I had the last chair in the back! I haven't forwarded
anything to Joe P. yet, but he might have had the same impression.

I probably only had one or two pics that would have worked, but
offered just in case he wanted and no one else had them.

Maybe someone else has a good selection of photos from MFest?

Cheers,
Jon

Joe,

--- In tuning@y..., "monz" <MONZ@J...> wrote:
>
> --- In tuning@y..., jpehrson@r... wrote:
>
> /tuning/topicId_20933.html#20951
>
> > Hi Jon...
> >
> > Actually, in deference to your wishes, I am going to eliminate
> > the commentary on "My Heart Keeps Beating Time" and, instead,
> > I'm going to mention the performance of "Three Intrusions" with
> > the new Diamond Marimba.
>
>
>
> In the opinion of this "microtonal expert", you should leave
> it in. "My Heart Keeps Beating Time" is a damned fine piece
> of music. So what if it's in 12-tET?

I think it is swell as well. But the info from MicroFest states:

"MicroFest is not exclusive of any musical style or tuning system,
except twelve-tone equal temperament."

My only point was that to discuss only two works of a rarely
performed repetoire and have one of them be a popular song in 12tet
misses the opportunity to speak at greater length on microtonality.

That's all.

Cheers,
Jon

>--- In tuning@y..., "monz" <MONZ@J...> wrote:

>> In the opinion of this "microtonal expert", you should leave
>> it in. "My Heart Keeps Beating Time" is a damned fine piece
>> of music. So what if it's in 12-tET?

Jon responded:
>
>I think it is swell as well. But the info from MicroFest states:
>
>"MicroFest is not exclusive of any musical style or tuning system,
>except twelve-tone equal temperament."
>
>My only point was that to discuss only two works of a rarely
>performed repetoire and have one of them be a popular song in 12tet
>misses the opportunity to speak at greater length on microtonality.
>

Though there was no criticism implicit in Jon's quote of the MicroFest web
page, I thought I should clarify. That quote about being exclusive of 12TET
was written for the original call for works to emphasize that I did not
want to receive submissions of 12TET works (I did anyway, of course). When
planning the Partch and Harrison concerts, John Schneider (who organized
the Partch) and I (who organized the Harrison) separately decided that, in
the interests of giving a retrospective of the composer's career, we would
make exceptions and include a 12TET piece.

The inclusion of these pieces was not a statement that we think that 12TET
is microtonality, though I do agree that "My Heart Keeps Beating Time" and
Harrison's _Praises for the Archangel Michael_ provided interesting foils
for the rest of the concerts. I personally believe that a shorter excerpt
of Bitter Music would have been welcome, however, and I think John realizes
that. Also, there was a problem with the microphone, so that John's reading
was hard to understand at times -- perhaps the mic was just "temperamental."

Bill

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
^ Bill Alves email: alves@hmc.edu ^
^ Harvey Mudd College URL: http://www2.hmc.edu/~alves/ ^
^ 301 E. Twelfth St. (909)607-4170 (office) ^
^ Claremont CA 91711 USA (909)607-7600 (fax) ^
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

--- In tuning@y..., Bill Alves <ALVES@O...> wrote:
> Though there was no criticism implicit in Jon's quote of the
> MicroFest web page, I thought I should clarify.

Good clarification, and I agree especially in light of shorter
selections. There is no need to *ignore* these pieces, only put them
in perspective. Which is what you have done well, I think.

> Also, there was a problem with the microphone, so that John's
> reading was hard to understand at times -- perhaps the mic was
> just "temperamental."

Ouch. :) Yes, the mic'ing and delivery can be improved on. Not a huge
problem to solve...

Jon