Welcome back, was Re: G Bv D

> >
> > Great question. Note that his book takes a much more JI approach to
> > what music and musicians do, even implying the use of 11 and 13
> > limit entities in the performance of "in tune" Western music. Since
> > this doesn't match at all what I hear, I have some scepticism about
> > theorizing he may make, regardless of the quality of his choral
> > directing.
> >
> I join you in that skepticism, Bob. I learned a lot during my months on the
> list. Too bad I can't go back and modify all the copies of my books. At
> least I'll be a bit more cautious in any future writing.

Hi Jerry,

You left for a round of golf about a year and half ago and here you
are. Sounds about like my game...

Regarding whatever skepticism we may have now, I probably would have said the
same things (or attempted to say something like it) as in your book, regarding
tuning. A lot of my thoughts have been challenged and changed since joining this
list and to your credit, you did get a lot of "message" out there to the musical
masses who think that the number 12 is the basis for all of music past, present
and future.

Meanwhile, regarding the high third, it may well be that there is no pure
psychoacoustic-physiological basis for a specific frequency or ratio. If we
accept that, then one could start to conject the same for the variety of
neutral intervals in Arabic/Turkish/Persian musics (despite their theorists)
as well as "blue notes". Maybe people just choose the note that sounds good,
given SOME amount of psychoacoustic-physiological and many helpings of cultural
"stuff".

Nice to read your voice again,

Bob Valentine