Re: double reeds, was (strange days on tuning list)

on 6/15/01 5:05 PM, tuning@yahoogroups.com at tuning@yahoogroups.com wrote:

> From: BVAL@IIL.INTEL.COM
> Subject: Re: strange days on tuning list

> One instrument in particular is two double
> reed instruments (tubular bore, from bamboo or some similr wood)
> with five holes attached together with wax. The player puts the two
> reeds in his mouth, circular breathes, and mostly trills rhythmically
> on one while holding a drone on the other. They can also insert an
> "extender" into one of them which doubles the length of the tube,
> moving the drone down an octave. Although this aspect of the natural 2/1
> is JI, I don't think the rest is.

There is a beautiful recording of someone from Sardinia playing these (or
something similar) on Secret Museum of the World, Volume 1, track 2. I
thought it was bagpipes until I got around to reading the liner notes for
that track. It's really quite astounding, my favorite track on the whole CD.
I don't know what the tuning is, but it sure isn't 12-tET.

Seth

--
Seth Austen

http://www.sethausten.com
emails: seth@sethausten.com
klezmusic@earthlink.net

Dear Seth,

Is it possible the title is: Secret Museum of MANKIND?

Schlesinger's theories continually bubble up in my imagination, no matter how disappointing some
her classical Greek modes sound to my ears. I was just looking for my xeroxed copy of The Greek
Aulos and gave up after reading Parch's distilation at the end of "Genesis of A Music." Amazing
that he talks about her theories as forming an independent validation of his musical ideas.

Before zoning in on Schlesinger I thought of her as a fascinating theorist with some impractical
scales, but now that I see how much importance Parch places on her I'm thinking a reinvestigation
is in order.

Yours,
Rick




Seth Austen wrote:

> on 6/15/01 5:05 PM, tuning@yahoogroups.com at tuning@yahoogroups.com wrote:
>
> <snip>

> There is a beautiful recording of someone from Sardinia playing these (or
> something similar) on Secret Museum of the World, Volume 1, track 2. I
> thought it was bagpipes until I got around to reading the liner notes for
> that track. It's really quite astounding, my favorite track on the whole CD.
> I don't know what the tuning is, but it sure isn't 12-tET.
> 

on 6/15/01 8:13 PM, tuning@yahoogroups.com at tuning@yahoogroups.com wrote:

> Message: 19
> Date: Fri, 15 Jun 2001 16:42:35 -0700
> From: Rick Tagawa <ricktagawa@earthlink.net>

> Is it possible the title is: Secret Museum of MANKIND?

Oh yes, that is indeed the correct title..

It's in the 90s today in New Hampshire, I'm not thinking at all well in this
heat...

Seth

--
Seth Austen

http://www.sethausten.com
emails: seth@sethausten.com
klezmusic@earthlink.net

Rick!
Not to be labor a point to far by Kathleen's scales are beautiful, far from impractical. For
instance, if one has a high drone with the melody below JI intervals would give you a subharmonic
series.
If you take her idea of a series of subharmonic series all having a common tone, guess what you
have- A Diamond!
Her discredit had more to do with the political climate than anything else! No way was the
status quo was going to be put in their place by a -WOMAN!

Rick Tagawa wrote:

> Dear Seth,
>
> Is it possible the title is: Secret Museum of MANKIND?
>
> Schlesinger's theories continually bubble up in my imagination, no matter how disappointing some
> her classical Greek modes sound to my ears. I was just looking for my xeroxed copy of The Greek
> Aulos and gave up after reading Parch's distilation at the end of "Genesis of A Music." Amazing
> that he talks about her theories as forming an independent validation of his musical ideas.
>
> Before zoning in on Schlesinger I thought of her as a fascinating theorist with some impractical
> scales, but now that I see how much importance Parch places on her I'm thinking a reinvestigation
> is in order.
>
> Yours,
> Rick

-- Kraig Grady
North American Embassy of Anaphoria island
http://www.anaphoria.com

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