Difficult and contentious

Until I just now changed it, the Pietro Aron article on Wikipedia said
he discussed tuning "which was a difficult and contentious topic prior
to the acceptance of equal temperament." Bless me, what do they teach
them at these schools? Maybe a hard boot to the butt coupled with a
comment "how's *this* for contentious?" would get the point across.

It is said that I have a heavy hand when it comes to getting points across.
I would be glad to oblige concerning whoever you want slapped on the
backside Gene.

ROFL
Happy New Year!
Oz.

----- Original Message -----
From: "Gene Ward Smith" <gwsmith@svpal.org>
To: <tuning@yahoogroups.com>
Sent: 01 Ocak 2006 Pazar 0:00
Subject: [tuning] Difficult and contentious

> Until I just now changed it, the Pietro Aron article on Wikipedia said
> he discussed tuning "which was a difficult and contentious topic prior
> to the acceptance of equal temperament." Bless me, what do they teach
> them at these schools? Maybe a hard boot to the butt coupled with a
> comment "how's *this* for contentious?" would get the point across.
>
>
>

--- In tuning@yahoogroups.com, "Gene Ward Smith" <gwsmith@s...> wrote:
>
> Until I just now changed it, the Pietro Aron article on Wikipedia said
> he discussed tuning "which was a difficult and contentious topic prior
> to the acceptance of equal temperament." Bless me, what do they teach
> them at these schools? Maybe a hard boot to the butt coupled with a
> comment "how's *this* for contentious?" would get the point across.

Nope, it would only serve to reinforce that contention. :-(

--George

Bless me, what do they teach
> > them at these schools? Maybe a hard boot to the butt coupled with a
> > comment "how's *this* for contentious?" would get the point across.

Greetings,

I know they don't teach much at most schools. One very professorial Canadian composer
said at a lecture before one of his works being played (stunningly dull lecture, I must say)
that he had given up composing because he was "bored with the 12 notes." I really think he
had no clue that vast riches of 'other notes' existed.

Very evidently, the possibilities are limited only by the imagination -- and indeed for some
this is a very small field...

All best wishes,

Gordon Rumson

--- In tuning@yahoogroups.com, "rumsong" <rumsong@t...> wrote:

> I know they don't teach much at most schools. One very professorial
Canadian composer
> said at a lecture before one of his works being played (stunningly
dull lecture, I must say)
> that he had given up composing because he was "bored with the 12
notes."

I often wonder if the malaise of the Western classical tradition is
due to the boredom of composers with 12-et. It isn't due to the
boredom of listeners, who can eat up same old same old with a spoon,
but a composer seeking something new finds it hard, perhaps.