Re: [tuning] Tui and "Microtonal" Music

In a message dated 5/5/01 9:02:46 PM Eastern Daylight Time, jdl@adaptune.com
writes:

> I told her about the tuning list, and that Johnny Reinhard had mentioned
> her name several times. She laughed and said, "Johnny and I always
> argue about the meaning of the word 'microtonal'. He keeps saying,
> 'All music is microtonal'. 'All music is microtonal', as if by
> repetition, he can make it true" [sound familiar? - ed]. Tui has
> huge respect for Johnny and his work. She claims credit for turning
> Johnny on to music other than 12-tone - true, Johnny?
>
>

It is true, by proxy, that Tui introduced me to quartertones in high school,
through 2 former students of hers. Stephen Mayer (10 years older than I) and
Robert Jurgrau (3 years younger than I) were composing solo works for bassoon
for me to play...with quartertones. It was years afterwards that I first met
Tui (and now I update her citation in the New Grove Dictionary). And BTW, I
am playing the recorder in the Lullaby compositions.

Re my definition of microtonal music. Well, all chuckling aside, I believe
there is a difference between someone who speaks French and someone who
theorizes about what it is to speak French. An individual may speak Dutch,
or Japanese, or any of a number of languages, but that gives them little
understanding of French.

Now if one speaks in quartertones, 12-tET is the mirror image of your
"microtonal" world. The standard must stand out for comparison and for
"raison d'être." And some on this list who do not think of themselves as
microtonal might take a step back and reflect on what it means upon someone
who does.

When all interval relationships are included in a "microtonal" concept, then
there are no bandwidths of much importance. Bandwidths are not part of my
vocabulary, as Jacky seems to agree. When one experiences all the interval
relationships, as opposed to singular "systems," then cultural hegemony of
12-tET recedes in focus and can no longer be held as a standard.

Frankly, I don't remember discussing this issue with Tui much at all. It
probably was the result of my publishing an essay "A Microtonal Sensibility"
in 1982 as part of the Ear Magazine "MIcrotonal Issue," which I guest edited,
along with Tui and Robert Jurgrau. My views have only intensified with my
acquisition of interval meaning made manifest in performance.

Johnny Reinhard

[I wrote:]
>>I told [Tui] about the tuning list, and that Johnny Reinhard had
>>mentioned her name several times. She laughed and said, "Johnny and I
>>always argue about the meaning of the word 'microtonal'. He keeps
>>saying, 'All music is microtonal'. 'All music is microtonal', as if
>>by repetition, he can make it true" [sound familiar? - ed]. Tui has
>>huge respect for Johnny and his work. She claims credit for turning
>>Johnny on to music other than 12-tone - true, Johnny?

[Johnny Reinhard:]
>It is true, by proxy, that Tui introduced me to quartertones in high
>school, through 2 former students of hers. Stephen Mayer (10 years
>older than I) and Robert Jurgrau (3 years younger than I) were
>composing solo works for bassoon for me to play...with quartertones.
>It was years afterwards that I first met Tui (and now I update her
>citation in the New Grove Dictionary). And BTW, I am playing the
>recorder in the Lullaby compositions.

Yes, I noticed that. Tui is playing another. Nice music! Only the
first Lullaby is on the disk, alas.

>Re my definition of microtonal music. Well, all chuckling aside, I
>believe there is a difference between someone who speaks French and
>someone who theorizes about what it is to speak French. An individual
>may speak Dutch, or Japanese, or any of a number of languages, but that
>gives them little understanding of French.

OK, I'm not understanding clearly what you mean to be analogous to
a particular language, but if I've irritated you, I apologize. As I've
said on this list before, my own reaction to the disagreement about the
meaning of the word "microtonal", or any other word, is to write
separate dictionary entries in recognition that both (or several)
meanings are in use. Tui mentioned the exchange without any prompting
on my part, and I thought it was striking given your posts on the
subject. She, like many others, uses the word to mean "anything but
12-tET".

>Now if one speaks in quartertones, 12-tET is the mirror image of your
>"microtonal" world. The standard must stand out for comparison and for
>"raison d'ˆtre." And some on this list who do not think of themselves
>as microtonal might take a step back and reflect on what it means upon
>someone who does.

>When all interval relationships are included in a "microtonal" concept,
>then there are no bandwidths of much importance. Bandwidths are not
>part of my vocabulary, as Jacky seems to agree. When one experiences
>all the interval relationships, as opposed to singular "systems," then
>cultural hegemony of 12-tET recedes in focus and can no longer be held
>as a standard.

Mmmm. I can recede 12-tET in my mind (and do all the time), but it sure
as heck has a grip on most Western music out there. Something way
beyond "standard".

>Frankly, I don't remember discussing this issue with Tui much at all.
>It probably was the result of my publishing an essay "A Microtonal
>Sensibility" in 1982 as part of the Ear Magazine "MIcrotonal Issue,"
>which I guest edited, along with Tui and Robert Jurgrau. My views have
>only intensified with my acquisition of interval meaning made manifest
>in performance.

Well, let's all drink a toast to intense views; goodness knows I've got
plenty of them! I don't want to quarrel over words, though; I only want
to try to use them clearly.

JdL