AW.: RE: Role of quarter tones in Arabic Music

PErlich@Acadian-Asset.com:

<<
Have you seen meantone around the West lately? >>

Sure. Every decent harpsichordist can tune it. And it exists elsewhere, too.
At random: Mitsuko Uchida's performances of the Mozart Piano Sonatas,
handhorn players, older Irish concertina's, many tracker organs, Ligeti's
_Passacaglia Ungharese_, several works by Douglas Leedy.

<< Have you seen meantone around the West lately? >>

Sure... I use it quite a bit. I like the thirds. I usually tune to get an
A-flat instead of G-sharp.

Rick

In einer Nachricht vom 9/17/99 10:46:50 PM (MEZ) - Mitteleurop.
Sommerzeschreibt PErlich@Acadian-Asset.com:

<<
Clearly one is not dealing with 180-cent 3/4-tones, whatever Touma or
Safi-al-Din may say.
>>

Paul Erlich!

Of couse not. Despite some shared theoretical heritage (or baggage, as the
case may be) from the Islamic golden age, Persian music is a tradition
independent from the Arabic. Persian classical music is, in many ways, much
closer to North Indian music, having played a decisively role in the latter's
development.