Babbitt and Schoenberg

[Kraig Grady, TD 178.24]
>
> I find it ironic that in this tuning list we hear mentioned
> composers such a Shoenberg, and Babbitt all the time and an
> omission of composers who understood what at least 12 et did
> well. How about Britten or Copland and even Stravinsky. It
> seens the first two might even surpass Partch in number
> of occurrences.

I think I've outlined pretty well why *I* drag Schoenberg
and Babbitt into this forum so often:

They both introduced, explained, and illustrated with
fantastic (IMO) music, concepts of numerical manipulation
which I think can be applied to JI, which is my interest.

The case of Schoenberg in particular I find absolutely
fascinating. His early development was within the late-1800s
post-romantic milieu, and within just a few years (1903-1909)
his musical 'language' evolved incredibly, to the point
where his monodrama 'Erwartung' [1909] is not only 'atonal',
but also 'athematic': it is intended as an almost completely
spontaneous musical expression of extreme mental states,
with *no* concessions to any music that ever came before,
with the exceptions that it was written down in regular music
notes and intended to be played by a regular orchestra.

His vision was so far-reaching, and his influence so
widespread, that if had chosen to embrace a microtonal scale
rather than the 12-eq, 20th-century music that followed him
would have gone in a far different direction than it did.

*You* tell us more about Copland, Britten, and Stravinsky
in regard to tuning, Kraig, since you brought them up.
I'm interested in knowing more.

Joseph L. Monzo monz@juno.com
http://www.ixpres.com/interval/monzo/homepage.html
|"...I had broken thru the lattice barrier..."|
| - Erv Wilson |
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