Re: [tuning] Re: to Joel Rodriguez

In a message dated 7/12/02 3:39:57 PM Eastern Daylight Time,
joelrodrigues@mac.com writes:
Hi Joel, Maybe you could take some aspirin or Tylenol before reading any
further, maybe a nap...you sound a bit stressed out. Johnny

> I'm sorry about the unavoidable association with the worst excesses of
> > Religious Fundamentalism, but the term "fundamentalism" has a meaning
> > independent of what the beliefs are about.
>
> > They may not post, but they certainly make claims on their websites.
>
> etc.
>
> Well said, Dave ! There are many more examples to support this.
>
> Off-hand I offer the following
>
> Johnny Reinhard: 'For true composition, I implore people on this
> list, please, don't compromise. If you really want to use Just
> for its qualitative properties...timelessness, ringing, partials
> and harmonics, basis of brass sound, basis the timbre of the
> human voice, of strings. The true home: Om.'
>

Joel, I am completely irreligious. I use "Om" as the reverse hum that most
easily generates the harmonics of the voice. I'm talking about Hoomi singing
or overtone singing. Before that I was merely descriptive. The true home in
the sense of the Picardy third outlining of the major chord of the overtone
series that was favored as the finalis in earlier days. It is also the
tonic/fundamental of the generating of harmonics. There is no voodoo
religion or JI fundamentalism here at all.

> Johnny at <http://www.newmusicbox.org/hymn/sep00/reinhard.html> :
> 'Just Intonation is arguably definitive consonance, or the key
> to the relationship between numbers and pitch, or the natural
> universal that jump starts the diversity of music around the
> world. And yet its melodies lose their angularity in the
> harmonic blend that produced them.'
>

Joel, I believe you have completely misunderstood me here. Please notice I
said "arguably," followed by an "or" and another "or." If you are interested
I can pass on a copy of my Phenomenology and Its Application to Microtonality
paper. This is where I define my terms regarding "essential" intervals as
they regard just intonation. The above in context is about using stranger
notes, quite like Julia in this particular instance.

> Johnny may keep saying 'polymicrotonality', but you'd be
> surprised at how many times he mentions JI, see
> <http://stereosociety.com/body_jrpolymi.html>, an article which
> purportedly is about 'polymicrotonality'.
>
>

Why is it so difficult to imagine that someone that is deeply in just
intonation is also deeply into all other intervalic relationships? Why is it
that JI people think that I don't truly yet feet the all-encompassing way of
the pure just aficionado? Why is that the multi-tempered out there think
true JI feelings are threatening? It's like my getting kicked out of the
ethnomusicology department because I knew too much Western music. What's a
left brain without a right brain?

>
> The following is a serious question, which I seriously hope
> someone has an answer to:
>
> When and where was the term that has come to be called 'Just
> Intonation' coined, what was the original term, and in what
> language was it in ?
>
>

I believe it was tracked to Thomas Morely in Renaissance England contained in
his monograph on good singing.

Hope you're feeling better.

Sincerely, Johnny Reinhard