notation: one-size-fits-all

Here's an interesting bit from Brian McLaren's action packed article
"A Brief History of Microtonality" in the Twentieth Century (the best
article of its kind ever written to my mind):

"Also in 1948 Joseph Schillinger's magnum opus The Mathematical Basis
of the Arts appeared posthumously. On page 665, Schillinger introduces
what he calls "the Double Equal Tempered System." This was his
terminology for the 144-tone equal tuning, which he claimed
"successfully unifies all systems of intonation used in the western
world today." Namely, "twelve-unit equal temperament, mean
temperament, just intonation and the string and vocal inflections of
special types of intonation (chamber, jazz, Gypsy music, etc.)"

Interestingly, when I started using the 144 notation (which was just a
simple modification of the Ezra Sims' 72 notation which I had picked
up from Joe and Mat Maneri) it was exactly with this type of a one
size fits all shoehorning in mind -- and that was before I had read
McLaren's article with this fascinating reference!

--Dan Stearns