Re: Partch janglies

Well,
my initial comments were about the obsolescence of traditional score writing and it's inability to be functionally applied to alternative tunings, and the things i think many folks on this list are writing or
attempting to "write". i have enjoyed many of the replies but it seems that we have spriralled into.."This is my fabo fav composer" and now to Partch. Partch the mastermind of modern monophony wrote intense music, while some it does jangle, the power of The Dreamer,the 11 intrusions and Ulysses(pre-beefheartian bliss) completely fulfills his purpose. While i am more interested recently in the theatre of the singular event and minimalist approaches, i for one was drawn to Partch first for the holistic "maximal" appeal of the music and then to the thorough specificity of the theories.
while Genesis may require two full readings to comprehend, the music is instantly lucid despite the occaisonal "jangle".
pagano

At Thu, 14 Oct 1999 15:39:04 -0700, you wrote:
>
>From: "D.Stearns" <stearns@capecod.net>
>
>[Rosati:]
>>I don't think he really had any sensitivity to the subtleties of the
>intervals he was using, especially vertically. Too much of it sounds
>random and jangly.
>
>I've always thought that this was one of the most curious twists of
>fate in the whole contemporary tuning narrative; that Harry Partch --
>literately the voice of a tuning reform based squarely on aural
>causation -- would end up creating a music that the majority of folks
>of a similar (tuning reform based on aural causation, and some innate
>teleological righteousness) persuasion would probably find acutely
>unpalatable.
>
>Q: I'm curious as to whether those here on the TD think that Harry
>Partch's *MUSIC* had of a more salient impact on the alternative
>tuners, or on (what I'll loosely band together and call) the DIY EMI
>folks?
>
>Dan
>
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