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>> From my *own* personal experience, it is difficult enough for them to
>> learn 72-tET which is, of course, *very* 12-equal based.
>>
>> Composer Tristan Mureil says it's even hard to get them to play
>> quartertones! :)
>
>Joseph, Tristan is working with students most of the time.

This is not true. In fact, the opposite is true. His music is mostly
played by professional groups in Europe, such as Ensemble
Intercontemporain, Ensemble Fa, etc., plus orchestras like Birmingham,
Paris, numerous German orchestras, etc.

So, when he's talking about players having problems with 1/4-tones, these
are professionals. . . and professionals in Europe, where microtonality
is much more accepted as a line of investigation in composition (in the
sense that the following statement is much more likely to be uttered in
the USA: "Microtonality? Why are you still pursuing that crap? . . .etc.
etc.")

That doesn't mean we can't work towards a brighter future, but the
current reality is. . . largely the reality, Johnny's players, and some
other brave folks excepted.

Actually, I should note that Murail occasionally uses 1/8-tones
also, but only when a clear harmonic effect is desired. For example, for
a JI 7th harmonic---and again, he's assuming that the player will "adjust"
to put the note exactly in JI.

For this kind of thing, I agree that 72-tet is a good next step in the
"microtonalizing of the music world at large." The fact that there is a
clear ear-training method makes it seem more attractive than many other
solutions.

--- In tuning@y..., Christopher Bailey <cb202@c...> wrote:

/tuning/topicId_36935.html#36935

>
> For this kind of thing, I agree that 72-tet is a good next step in
the "microtonalizing of the music world at large." The fact that
there is a clear ear-training method makes it seem more attractive
than many other solutions.

***To my mind, this is the single most important thing I have learned
from the 2+ years on this list!

Remember, it wasn't *my* idea originally *at all.* I learned it all
here.

J. Pehrson