non12 musics rendered in 12

> > Over the last decade or a bit more, Pythagorean intonation for
> > 13th-14th century repertory, _and_ meantone or some kind of
> > approximate 5-limit JI for the Renaissance, have been gaining in
> > appreciation; but it's still an ongoing process.
> >
>
> Thank you so very much, Margo, for this valuable insight! I guess
> I'm really not involved enough in Early Music performance practices
> to appreciate this "evolution" fully...
>
> It's hard to believe that ensembles are still playing Medieval and
> Renaissance music in 12-tET, but that seems to be what you are
> implying...

Don't forget that, for Medieval, 12tet is really doing a very good
job. Perhaps the dissonances aren't dissonant enough, and if the
music is veering into schismic territory then 12 will completely
fail be making an equivalence out of a dissonance and a new
consonance, but the primary consonances are represented extremely
well.

For those who got the latest 1/1 (journal of the Just Intonation
Network) Lou Harrisons keynote is presented there where he points
out how the early music people are spiritual allys to the JI
crowd. I think his point applies to all tuning folk. If the music
is supposed to be tuned different, then tune it different!

Bob Valentine

>
> ________ ________ ______
> Joseph Pehrson

--- In tuning@y..., Robert C Valentine <BVAL@I...> wrote:

/tuning/topicId_29688.html#29688

>
> Don't forget that, for Medieval, 12tet is really doing a very good
> job. Perhaps the dissonances aren't dissonant enough, and if the
> music is veering into schismic territory then 12 will completely
> fail be making an equivalence out of a dissonance and a new
> consonance, but the primary consonances are represented extremely
> well.

Hello Bob!

Well, I guess that makes sense... but it's the _Renaissance_
repertoire that people in conservatories were always playing on the
piano with no mention of meantone or tuning whatsoever. Hopefully
this situation has changed nowadays... and perhaps in Renaissance
studies people are now playing on some keyboards tuned to meantone...
but I don't know from personal experience...

_______ _______ ________
Joseph Pehrson

Just a postcard from the tall weeds out here.
Bob Write:
> Don't forget that, for Medieval, 12tet is really doing a very good
> job. Perhaps the dissonances aren't dissonant enough, and if the
> music is veering into schismic territory then 12 will completely
> fail be making an equivalence out of a dissonance and a new
> consonance, but the primary consonances are represented extremely
> well.

Joseph Pehrson responds"
>>Well, I guess that makes sense... but it's the _Renaissance_
repertoire that people in conservatories were always playing on the
piano with no mention of meantone or tuning whatsoever. Hopefully
this situation has changed nowadays... and perhaps in Renaissance
studies people are now playing on some keyboards tuned to meantone... <<

Greetings,
Yes, things are changing. Despite McClaren's feeling that academia is
protective of ET, the noses of many camels are at least near the edge of the
tent, and there are several places in which the well-tempered beasts are in!
At Vanderbilt, there is now a row of practise rooms with grands that I
keep in various stages of non-ET tunings, (well-tempered) and our new Early
Music prof. is knowledgable on the subject. We will be keeping the
harpsichords in a variety of tuning, with the Werckmeister being the most
recent.
Meantone tuning is hard to sell out in the field, but the academic
environment is giving these tunings a shot at influencing the next generation
of musicians. I say this is progress. (We should be ready when Margot picks
up her pair of synths and goes on 100,000 watt "Twin Towers Of Harmony"
tour)

Regards,
Ed Foote
Precision Piano Works
Nashville, Tn.

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