Re: [tuning] Digest Number 2224

I was thinking of things like

Debussy and other composer's experiments with 'whole tone' scales
Mussorgsky et al and the octatonic scale
Romantic music and the tonal 'Clapham junction' of the diminished seventh
chord.
Schoenberg (eek! - anyone for (greek word for 31)phony )

Plus those many occasions in music where the writing is obviously a feature
of 12 per octave. I cite Rachmaninov as a very good example of a composer
whose piano music is entirely conceived in relation to a 12-tone octave. So
much music has been a direct result of the keyboard, one wonders what shapes
would have arisen from 31 and 19-tone instruments.

Mark

> From: tuning@yahoogroups.com
> Reply-To: tuning@yahoogroups.com
> Date: 28 Sep 2002 08:15:24 -0000
> To: tuning@yahoogroups.com
> Subject: [tuning] Digest Number 2224
>
> Mark Gould wrote:
>
>>> Joseph :
>>
>>> Had history gone differently, and maybe somebody like Vicentino
>>> caught on, as I understand it, we might be using 31-tET or 19-tET
>>> today instead!!!
>>
>> If this were the case, would we be exploring 12-tET and would it have the
>> same quasi fringe status as 31 and 19 do today? Anyone got any thoughts on
>> what would have been different in music had 19 or 31 become the standard of
>> western music?
>>
>> Mark
>
> Academics would have to work a lot harder! The same composers would have shone
> through though,
> whatever the temperament.
>
> Best Wishes

--- In tuning@y..., Mark Gould <mark.gould@a...> wrote:

/tuning/topicId_39116.html#39116

>
> Plus those many occasions in music where the writing is obviously a
feature of 12 per octave. I cite Rachmaninov as a very good example
of a composer whose piano music is entirely conceived in relation to
a 12-tone octave. So much music has been a direct result of the
keyboard, one wonders what shapes would have arisen from 31 and 19-
tone instruments.
>

***Hi Mark,

I was wondering why Rachmaninov more than any other composers? I
would think maybe Liszt piano music, myself. Rachmaninov gets
pretty "experimental" in some of his very late works... but so does
Liszt, come to think of it. I don't know if *either* is as totally
wedded to the keyboard as you might thing. But more on this
on "Metatuning..."

Joe Pehrson