Yahoo Tuning Groups Ultimate Backup tuning New piece up on xenharmony.org

--- In tuning@yahoogroups.com, "Carl Lumma" <ekin@l...> wrote:
> > After a long hiatus, I've got a new composition up at
> >
> > http://ded02.eshockhost.com/~xenharmo/gene.html
>
> I dig the tuning!

It adheres strictly to 13-limit JI vertically, but thanks. It's a
little unsettling how many directions that lets your harmony move in,
I must say.

> And the piano patch. You finally got it!!

Actually, there were three grand piano patches, a honky-tonk patch,
two guitar patches and an electronic patch just in the Mangled Mozart
part. The other part, the High Intolerable Voice, was a boy chorus
patch.

> The other patches, I'm afraid, I can't say much for.
>
> And the piece lacks direction.

The High Intolerable Voice *seems* to lack direction unless you
listen for it, and realize it is actually going somewhere on a very
slow time scale. It is supposed to pull you apart a little, since
Mangled Mozart mostly connects with it vertically--they share 13-
limit vertical harmony, but are off in different temporal worlds.

> But if we take it to be of the genre of electronic music,
> it's about as ass-kicking as I've heard.

Thanks. Chalk it up as another interesting experiment, if nothing
else.

🔗Gene Ward Smith <gwsmith@svpal.org>

--- In tuning@yahoogroups.com, "pitchcolor" <Pitchcolor@a...> wrote:

> Gene, I must say that the piano work is absolutely dynamite.

Thanks! Of course I owe much of that to Wolfgang Amadeus Mozart, K
331, mv 1, which I warped into 13-limit freely atonal JI.

However, I also
> must ask: was it your intention to make the listener terribly
irritated by this
> incessantly screaming awful voice or string patch you've used?

My own name for it was the High Intolerable Voice. The real fun is
fitting it together with the other part, but I have a curious notion
of "fun".

🔗Jon Szanto <JSZANTO@ADNC.COM>

--- In tuning@yahoogroups.com, "pitchcolor" <Pitchcolor@a...> wrote:
> Gene, I must say that the piano work is absolutely dynamite.

Not just the sound, but the sense of rubato and phrasing. A new and welcome phase in Gene's music.

> However, I also must ask: was it your intention to make the
> listener terribly irritated by this incessantly screaming
> awful voice...

Ditto. I'm sorry, but that pretty much ended any attention I could pay to the piece. I tried listening, then in sections, then skipping around. It was everywhere, and I had to turn it off.

Maybe you can 're-orchestrate'...

Cheers,
Jon

🔗Aaron K. Johnson <akjmicro@comcast.net>

On Friday 10 October 2003 09:39 pm, Gene Ward Smith wrote:
> --- In tuning@yahoogroups.com, "pitchcolor" <Pitchcolor@a...> wrote:
> > Gene, I must say that the piano work is absolutely dynamite.
>
> Thanks! Of course I owe much of that to Wolfgang Amadeus Mozart, K
> 331, mv 1, which I warped into 13-limit freely atonal JI.
>
> However, I also
>
> > must ask: was it your intention to make the listener terribly
>
> irritated by this
>
> > incessantly screaming awful voice or string patch you've used?
>
> My own name for it was the High Intolerable Voice. The real fun is
> fitting it together with the other part, but I have a curious notion
> of "fun".

You mean, like:
covering-your-body-with-paper-cuts-and-jumping-into-a-vat-of-lemon-juice fun?

;)

-akj

>
>
>
>
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--
OCEAN, n. A body of water occupying about two-thirds of a world made
for man -- who has no gills. -Ambrose Bierce 'The Devils Dictionary'

🔗Joseph Pehrson <jpehrson@rcn.com>

🔗Gene Ward Smith <gwsmith@svpal.org>

🔗pitchcolor <Pitchcolor@aol.com>

--- In tuning@yahoogroups.com, "Gene Ward Smith"
<gwsmith@s...> wrote:

>Of course I owe much of that to Wolfgang Amadeus Mozart, K
> 331, mv 1, which I warped into 13-limit freely atonal JI.

I usually avoid listening to Mozart's music, because I find it
frightfully insipid, except for his more serious works. As his
sonatas go, I really don't mind the A major. But I found your piece
fun because the obvious 'remappng' seemed to say, "Herr
Mozart, this is what would have to happen to your tired old sonata
in order for it to be interesting to listen to." That may not be what
you were thinking, but I found it amusing .

> However, I also
> > must ask: was it your intention to make the listener terribly
> irritated by this
> > incessantly screaming awful voice or string patch you've
used?
>
> My own name for it was the High Intolerable Voice. The real fun
is
> fitting it together with the other part, but I have a curious notion
> of "fun".

I really wish you would use a less offensive sound, or at least
make it ppp throughout.

Regards,
Aaron Hunt

🔗David Beardsley <db@biink.com>

🔗Graham Breed <graham@microtonal.co.uk>

🔗Gene Ward Smith <gwsmith@svpal.org>

🔗Jon Szanto <JSZANTO@ADNC.COM>

🔗Gene Ward Smith <gwsmith@svpal.org>

🔗Jon Szanto <JSZANTO@ADNC.COM>

--- In tuning@yahoogroups.com, "Gene Ward Smith" <gwsmith@s...> wrote:
> That's what you get for calling me a conservative stick in the mud,
> I guess.

I'm not sure what that means. I know plenty of conservative music that I like, as well as items that are on the bleeding edge. You're the composer: do what you want; there is plenty of room for those pieces we write to please only ourselves.

OTOH, if you are interested in having a moderately broad audience listen, or even a small one with good taste, you should avoid items that recall with less than fondness that car alarm that wouldn't turn off in the wee hours of the morning... :)

Cheers,
Jon

🔗Gene Ward Smith <gwsmith@svpal.org>

🔗Jon Szanto <JSZANTO@ADNC.COM>

--- In tuning@yahoogroups.com, "Gene Ward Smith" <gwsmith@s...> wrote:
> It means that, believe it or not, I do listen to you.

Ouch. Caveat emptor, then.

> You haven't listened to the piece even once.

Clairvoyance ain't your strong suit. Upon downloading I *was* pressed for time, and seeing as the Voice Dat Annoys (or whatever the name) was living up to its pedigree, I tried skipping ahead to the good parts.

Ahem.

So later, I did listen to the piece. *Exactly* once. I still stand by my remarks that the very opening is quite elegantly done (I don't share Aaron's view that Mozart is insipid), and also once again felt like I was being subjected to what my dentist describes as his basic work: "controlled violence".

Nah, that's too extreme. The voice makes the piece unlistenable for me. Seems to affect others similarly. Totally up to you how you use that information in the future. And - seriously - the effect could have been much ameliorated with a different mix, and probably a different patch.

But, as I said, you're the composer.

Cheers,
Jon

🔗pitchcolor <Pitchcolor@aol.com>

--- In tuning@yahoogroups.com, "Jon Szanto" <JSZANTO@A...>
wrote:

> (I don't share Aaron's view that Mozart is insipid)

It's just a matter of taste, of course. Mozart too often indulged in
slap-dash composition with innocuous ideas. He really was a
dreadfully lazy composer.

Compare this with the music of Morton Feldman. True, his music
is usually unobtrusive, sometimes even innocuous, but it is
never insipid. There is always a palpable sense of deep
personal attention to detail, of real artistry. The 2nd string quartet
on the Mode label, by the way, is six hours of spellbinding
Feldman with plenty of interest to tuning enthusiasts.

Aaron Hunt

🔗Aaron K. Johnson <akjmicro@comcast.net>

tuners,

Just wanted everyone to know for the record, now that there are 2 Aarons on
this mailing list, that Aaron Krister Johnson (moi) has a very high
estimation of Mozart. It is Aaron Hunt who thinks he is insipid. Although I
respect him and his right to his opinion!

I wouldn't want third parties unwittingly confusing us because we are both
Aarons, and attributing such statements to me - I don't hold such opinions of
Mozart! I think Mozart was a top notch compositional genius, the proof being
his output, or at least 90% of it. Even if the guy wrote 90% diarrhea, the G
minor symphony, the string quintet, and C minor mass alone would redeem him!

-Aaron Krister Johnson. (call me 'AKJ' and Aaron Hunt 'AH' for future clarity)

On Monday 13 October 2003 11:37 am, pitchcolor wrote:
> --- In tuning@yahoogroups.com, "Jon Szanto" <JSZANTO@A...>
>
> wrote:
> > (I don't share Aaron's view that Mozart is insipid)
>
> It's just a matter of taste, of course. Mozart too often indulged in
> slap-dash composition with innocuous ideas. He really was a
> dreadfully lazy composer.
>
> Compare this with the music of Morton Feldman. True, his music
> is usually unobtrusive, sometimes even innocuous, but it is
> never insipid. There is always a palpable sense of deep
> personal attention to detail, of real artistry. The 2nd string quartet
> on the Mode label, by the way, is six hours of spellbinding
> Feldman with plenty of interest to tuning enthusiasts.
>
> Aaron Hunt
>
>
>
> You do not need web access to participate. You may subscribe through
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> receive general help information.
>
>
> Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/

--
OCEAN, n. A body of water occupying about two-thirds of a world made
for man -- who has no gills. -Ambrose Bierce 'The Devils Dictionary'

🔗Joseph Pehrson <jpehrson@rcn.com>

--- In tuning@yahoogroups.com, "pitchcolor" <Pitchcolor@a...> wrote:

/tuning/topicId_47801.html#47905

> --- In tuning@yahoogroups.com, "Jon Szanto" <JSZANTO@A...>
> wrote:
>
> > (I don't share Aaron's view that Mozart is insipid)
>
> It's just a matter of taste, of course. Mozart too often indulged
in
> slap-dash composition with innocuous ideas. He really was a
> dreadfully lazy composer.
>
> Compare this with the music of Morton Feldman. True, his music
> is usually unobtrusive, sometimes even innocuous, but it is
> never insipid. There is always a palpable sense of deep
> personal attention to detail, of real artistry. The 2nd string
quartet
> on the Mode label, by the way, is six hours of spellbinding
> Feldman with plenty of interest to tuning enthusiasts.
>
> Aaron Hunt

***Trying to compare Mozart and Morton Feldman is a bit of a silly
exercise in my book... :) Why not just say that Mozart isn't to your
*taste...?* You won't be the first... (I like Haydn better myself,
although I do like Mozart sometimes...)

J. Pehrson

🔗Gene Ward Smith <gwsmith@svpal.org>

🔗Alison Monteith <alison.monteith3@which.net>

🔗David Beardsley <db@biink.com>

🔗Aaron K. Johnson <akjmicro@comcast.net>

On Monday 13 October 2003 12:38 pm, Alison Monteith wrote:
> on 13/10/03 17:37, pitchcolor at Pitchcolor@aol.com wrote:
> > --- In tuning@yahoogroups.com, "Jon Szanto" <JSZANTO@A...>
> >
> > wrote:
> >> (I don't share Aaron's view that Mozart is insipid)
> >
> > It's just a matter of taste, of course. Mozart too often indulged in
> > slap-dash composition with innocuous ideas. He really was a
> > dreadfully lazy composer.
>
> I'd like to see you knock out a few concertos, symphonies and perhaps an
> opera over the summer holidays.
>
> Sincerely
> a.m.

Well put!

-the mozart-loving, other 'Aaron'

OCEAN, n. A body of water occupying about two-thirds of a world made
for man -- who has no gills. -Ambrose Bierce 'The Devils Dictionary'

🔗Aaron K. Johnson <akjmicro@comcast.net>

On Monday 13 October 2003 12:24 pm, Gene Ward Smith wrote:
> --- In tuning@yahoogroups.com, "Aaron K. Johnson" <akjmicro@c...>
> wrote:
>
> Even if the guy wrote 90% diarrhea, the G
>
> > minor symphony, the string quintet, and C minor mass alone would
>
> redeem him!
>
> Mozart's last four string quintets are all of exceptional quality. As
> for his masses, they were often in C but no doubt of which one you
> mean.

Hey,

All of Mozart's music is of exceptional quality.

Question - what was Mozart's tuning? My guess is 1/6-comma meantone and/or a
general use well temperament of the Neidhardt or Prinz variety. It's
interesting, because when you look at his output, he wrote mainly for the
meantone keys- he wasn't as adventurous at distant modulation, or using
distant tonic keys, as, say, Bach...there is only one movement in the key of
f# minor for instance-that of the Piano Concerto in A, K.488.....

-AKJ

OCEAN, n. A body of water occupying about two-thirds of a world made
for man -- who has no gills. -Ambrose Bierce 'The Devils Dictionary'

🔗Jon Szanto <JSZANTO@ADNC.COM>

Humans,

As AKJ so aptly put: "I think Mozart was a top notch compositional genius, the proof being his output..."

And the more I read the intial post, trashing Wolfgang and praising Feldman (at least *there* is something I agree with), I honestly think it is plain old trolling. If one assumes that people who post on the list - *about* music, at least - would know enough about a composer that _even_if_ they didn't care for the output, they can acknowledge mastery of the craft.

"Don Giovanni"? The clarinet quintet? Give me a six-hour-string-quartet sized break...

Cheers,
Jon

🔗kraig grady <kraiggrady@anaphoria.com>

>
>
> Message: 2
> Date: Mon, 13 Oct 2003 16:37:52 -0000
> From: "pitchcolor" <Pitchcolor@aol.com>
> Subject: Re: New piece up on xenharmony.org
>

i have a real love/hate reaction to Feldman. I tend to find that he really cornered himself and find much of his work all basically the same in content. For Phillip Guston i think is far more succesful than the 2nd quartet. His larger works don't at all for me. Even with the score and multiple recordings For Samuel Becket is alway 12 min too long, and if i sit there
and listen (which i do with music) i end up taking it off. Same with Coptic Night. yes he has the detail down , but misses any over all sense. But his appraoch would result in this, would it not. it is really hard to beat his last piece Piano, Violin, Viola, Cello. His music is universally creepy which can possibly be a good thing, but given the freedom to do what
you want, i would hope to be able to do more than that.
Late mozart is the most polite horror stories ever written. possibly one of the most dissonant composers of all time. Like Prokofiev, who he shares a childhood aptitude with , the piano concertos might be the most revealing.

>
>
>
> Compare this with the music of Morton Feldman. True, his music
> is usually unobtrusive, sometimes even innocuous, but it is
> never insipid. There is always a palpable sense of deep
> personal attention to detail, of real artistry. The 2nd string quartet
> on the Mode label, by the way, is six hours of spellbinding
> Feldman with plenty of interest to tuning enthusiasts.
>
> Aaron Hunt
>
> ________________________________________________________________________
> ________________________________________________________________________
>
> Message: 3
> Date: Mon, 13 Oct 2003 11:49:46 -0500
> From: "Aaron K. Johnson" <akjmicro@comcast.net>
> Subject: Mozart opinions
>
> tuners,
>
> Just wanted everyone to know for the record, now that there are 2 Aarons on
> this mailing list, that Aaron Krister Johnson (moi) has a very high
> estimation of Mozart. It is Aaron Hunt who thinks he is insipid. Although I
> respect him and his right to his opinion!
>
> I wouldn't want third parties unwittingly confusing us because we are both
> Aarons, and attributing such statements to me - I don't hold such opinions of
> Mozart! I think Mozart was a top notch compositional genius, the proof being
> his output, or at least 90% of it. Even if the guy wrote 90% diarrhea, the G
> minor symphony, the string quintet, and C minor mass alone would redeem him!
>
> -Aaron Krister Johnson. (call me 'AKJ' and Aaron Hunt 'AH' for future clarity)
>
> On Monday 13 October 2003 11:37 am, pitchcolor wrote:
> > --- In tuning@yahoogroups.com, "Jon Szanto" <JSZANTO@A...>
> >
> > wrote:
> > > (I don't share Aaron's view that Mozart is insipid)
> >
> > It's just a matter of taste, of course. Mozart too often indulged in
> > slap-dash composition with innocuous ideas. He really was a
> > dreadfully lazy composer.
> >
> > Compare this with the music of Morton Feldman. True, his music
> > is usually unobtrusive, sometimes even innocuous, but it is
> > never insipid. There is always a palpable sense of deep
> > personal attention to detail, of real artistry. The 2nd string quartet
> > on the Mode label, by the way, is six hours of spellbinding
> > Feldman with plenty of interest to tuning enthusiasts.
> >
> > Aaron Hunt
> >
> >
>

-- -Kraig Grady
North American Embassy of Anaphoria Island
http://www.anaphoria.com
The Wandering Medicine Show
KXLU 88.9 FM WED 8-9PM PST

🔗gooseplex <cfaah@eiu.edu>

--- In tuning@yahoogroups.com, "Jon Szanto" <JSZANTO@A...>
wrote:
> Humans,
>
> As AKJ so aptly put: "I think Mozart was a top notch
compositional genius, the proof being his output..."
>
> And the more I read the intial post, trashing Wolfgang and
praising Feldman (at least *there* is something I agree with), I
honestly think it is plain old trolling. If one assumes that people
who post on the list - *about* music, at least - would know
enough about a composer that _even_if_ they didn't care for the
output, they can acknowledge mastery of the craft.
>
> "Don Giovanni"? The clarinet quintet? Give me a
six-hour-string-quartet sized break...
>
> Cheers,
> Jon

Interesting that a few negative words about Mozart (a dead guy)
prompt such indignation while almost nobody speaks up on
behalf of (living) Milton Babbitt when he was verbally slighted on
this list. Mozart is _dead and his music continues to flood
American "classical music" radio waves and concert halls
_ad_nauseum, like a vast cloud of cheese-wiz (the mild variety).
Turn on your radio to the local "classical" station and what do you
probably hear? Mozart. His music is beaten to death over radio
waves and in the concert halls, over and over and over. If I hear
"Eine Kleine Nichtmusik" one more time, bastardized in pop
culture, as the ringer on your cell phone, or packaged into
ridiculous 'baby music' CDs ... Really, it is nauseating. On the
other hand, a serious composer of new music, like Milton Babbitt
(who is very much alive right now, by the way) - composers who
are writing exciting and provocative NEW music - get almost no
air play and very few concerts in large part because Mozart is
hogging the space, time and resources that should be given to
new music. This could be the most screwed up musicological
phenomenon in history. It doesn't matter what you think about
Babbitt's music aesthetically. Concerts used to be held so that
new works could be heard, and audiences gathered specifically
to hear new works - new spectacles, kind of like the movie
theatres of today. But now they all flock to hear Mozart over and
over, and they don't even know why. If you are a composer this
really should bother you. Why would any composer _want to
write "symphony" today? It won't get performed, or it will get one
performance followed by a lifetime on a shelf, because the
orchestras are like museums, displaying the `old masters' only,
token commissions and Pierre Boulez notwithstanding. Of
course, among composers of new music there is even a smaller
niche of composers - the so-called "microtonal" composers -
who get these ghettoized festivals and curiosity recordings,
interviews and concerts here and there because they are being
even more squeezed out than everyone else by Herr Mozart and
his tired old Symphonies and Sonatas which dominate the
mainstream canned-spam "classical" music air waves and
concert halls. Living composers are writing serious new art
music and they deserve to have radio play and concerts of their
work. Living composers deserve more respect, support, and
opportunities to share their work. And if all I were concerned
about was trashing Mozart, then I would need only mention the
name of Bach - there is no argument against the bold, assertive,
rhetorical high contrapuntal technique of Bach versus the
specific lack of these things in Mozart, who was comparatively a
_genuine_hack in these areas - a really obvious observation - an
admission of inferiority said to be given by Mozart himself. I
mentioned Morton Feldman because Feldman's music, like
Mozart's, is comparatively unassertive, and even more severely
antithetical to Bach. Anyway, I'm about done with this subject for
now, so my apologies for ranting.

Regards,
Aaron Hunt

🔗Jon Szanto <JSZANTO@ADNC.COM>

Aaron,

Well, you proved it wasn't trolling!

Hey, I'm not out to bash you for your admiration of living (and until-recently-living) composers - far from it. And having an appreciation for music from a composer who no longer is with us in no way devalues the activities in music-making that are on-going. I support live composers in a number of ways: buying recordings, going to concerts, encouraging others to do the same.

But if your point is that one must support only the living and most recent composers, then all one needs ask is: how dead to they have to be before we take them out of concerts, playlists, our memories?

In a short time Harry Partch, an important composer to some people, will have been dead for 30 years. Am I approaching a jettison point for my recordings? Is being alive the *only* criteria for you, or simply a paramount one?

Cheers,
Jon (who, while sharing your appreciation for Feldman, continues to find Babbitt over-rated...)

🔗Gene Ward Smith <gwsmith@svpal.org>

--- In tuning@yahoogroups.com, "gooseplex" <cfaah@e...> wrote:

On the
> other hand, a serious composer of new music, like Milton Babbitt
> (who is very much alive right now, by the way) - composers who
> are writing exciting and provocative NEW music - get almost no
> air play and very few concerts in large part because Mozart is
> hogging the space, time and resources that should be given to
> new music.

And here I thought my title was funny.

And if all I were concerned
> about was trashing Mozart, then I would need only mention the
> name of Bach - there is no argument against the bold, assertive,
> rhetorical high contrapuntal technique of Bach versus the
> specific lack of these things in Mozart, who was comparatively a
> _genuine_hack in these areas - a really obvious observation - an
> admission of inferiority said to be given by Mozart himself.

A striking feature of Mozart's later music is the impact Bach had on
it, after he was introduced to it. (And I don't mean Johann
Christian!)

🔗monz <monz@attglobal.net>

--- In tuning@yahoogroups.com, "Aaron K. Johnson" <akjmicro@c...>
wrote:

> Question - what was Mozart's tuning? My guess is
> 1/6-comma meantone and/or a general use well temperament
> of the Neidhardt or Prinz variety.

very good guesses.

you must have missed this:

http://sonic-arts.org/monzo/55edo/55edo.htm

i created it a couple of years ago, but we just had a
big discussion of it again this past summer, and i
got the Attwood notes via interlibrary loan.

in brief, 55edo / 1/6-comma meantone or a variant
for orchestral intstruments, and a well-temperament
for keyboards.

> It's interesting, because when you look at his output,
> he wrote mainly for the meantone keys- he wasn't as
> adventurous at distant modulation, or using distant
> tonic keys, as, say, Bach...there is only one movement
> in the key of f# minor for instance-that of the
> Piano Concerto in A, K.488.....

there have been a few papers on Mozart's use of
enharmonic modulation in chamber and orchestral compositions,
which obviously argues against meantone.

i started analyzing the notation of the 40th (G-minor) Symphony,
and found it fascinating to see how carefully Mozart
introduces various elements of the meantone chain,
starting out with what you'd expect for G-minor, but
then incorporating members of the chain which are further
and further out as the piece progresses. eventually,
when i have time to get back to that one, i'll make a
webpage of it.

-monz

🔗gooseplex <cfaah@eiu.edu>

--- In tuning@yahoogroups.com, "Jon Szanto" <JSZANTO@A...>
wrote:
> Aaron,
>
> Well, you proved it wasn't trolling!
....
> But if your point is that one must support only the living and
most recent composers, then all one needs ask is: how dead to
they have to be before we take them out of concerts, playlists, our
memories?>

The argument was really against saturation, overkill, and the
smothering of new music, specifically by Mozart's music. I'm
certainly not advocating taking old music out of concerts and
playlists. There certainly needs to be a balance... Mozart's music
needs its place, even in my own personal library. My point is that
it shouldn't be everywhere all the time at the expense of everyone
else's music, causing reasonable resentment.

> In a short time Harry Partch, an important composer to some
people, will have been dead for 30 years. Am I approaching a
jettison point for my recordings? Is being alive the *only* criteria
for you, or simply a paramount one?>

Ah, ranting proves very poor communication... Partch's music
has yet to reach a very wide audience, much less approach
anything like saturation. At this point, it might help to play it with
the windows open so the neighbors might hear it.

>
> Cheers,
> Jon (who, while sharing your appreciation for Feldman,
continues to find Babbitt over-rated...)

Interesting. Babbitt seems to be much maligned almost
everywhere, except maybe in New York.

Regards,
Aaron Hunt

🔗David Beardsley <db@biink.com>

gooseplex wrote:

>--- In tuning@yahoogroups.com, "Jon Szanto" <JSZANTO@A...> >wrote:
> >
>>In a short time Harry Partch, an important composer to some >> >>
>people, will have been dead for 30 years. Am I approaching a >jettison point for my recordings? Is being alive the *only* criteria >for you, or simply a paramount one?>
>
>Ah, ranting proves very poor communication... Partch's music >has yet to reach a very wide audience, much less approach >anything like saturation. At this point, it might help to play it with >the windows open so the neighbors might hear it.
> >
Cheers,

>Jon (who, while sharing your appreciation for Feldman, > >
>continues to find Babbitt over-rated...)
>
>Interesting. Babbitt seems to be much maligned almost >everywhere, except maybe in New York.
>

It would be nice if Partch's music was heard as often as Babbitt's in NYC.

--
* David Beardsley
* microtonal guitar
* http://biink.com/db

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