AW.: Re: More ubiquity

More examples of the ubiquity of microtones in modern music making:

48tet-ers: Eighth-tones are required in scores by two very different younger
German composers. Volker Staub, a former student of Johannes Fritsch, is also
an instrument builder, uses eighth-tones as a "practical" notation for
working with the pitch continuum. Claus-Steffen Mahnkopf, from the school of
Ferneyhough, has co-authored a manual of contemporary oboe techniques with
Peter Veale including a 48tet fingering chart. Like Staub, I believe Mankopf
chose eighth tones from practical grounds -- they can be referenced readily
to 12tet pitches. Also, Ernstalbrecht Stiebler recently wrote an orchestral
work _Unisono Divisi_, somewhat in the Scelsian spirit, where quartertone
deviations from unison are used in most registers, but eighthtones at one
point in the bass.

Out-of-tuners: Rhy Chatham, who started as a professional harpsichord tuner,
then discovered JI via Tony Conrad, and then La Monte Young, has written one
piece _The Out of Tune Guitar_, actually an ensemble work, based upon an
accidental "found" tuning in which he once found his guitar. Jonathan Segel,
from the Camper van Beethoven camp, composed _Three Pieces for Out of Tune
Piano_, intended to be played on a 12tet instrument that has drifted out of
tune.