Re: "specialized " performers...

>Hopefully the days of "specialized " performers is drawing to an end.

Though instruments can be altered, created (or even purchased), to
accommodate alternatives to 12-tET... And though performers can learn to
play these instruments and learn techniques to broaden the inherent pitch
scope of the conventional battery of mass produced 12-tET (designed)
instruments� Is it not (comparatively) far more difficult to secure an
interested _and proficient_ cadre of these performers? And do these
realities occasionally effect the technical specifications towards which a
composer (specifically higher profile �microtonal� composers like a
Harrison, or a Rielly) composes? I can only guess� but I thought I�d put the
question out there.

>We have more and more Composer/Performers.

Good, good, good! But again I have to wonder to what degree this a necessity
of "specialization"� If I want my compositions played who am I going to get
to play my microtonal guitar parts?

>Economics is the driving force behind these works.

I�m not sure I understand what you mean� That economics drives "a
conglomerate of efforts with the �composer� as front man�"? Or that a
�microtonal� composer could be forced by "economics" to go back to 12-tET?
(I'm assuming the former and not the latter... but I'm not certain.)

Dan

-----Original Message-----
From: Kraig Grady <kraiggrady@anaphoria.com>
To: tuning@onelist.com <tuning@onelist.com>
Date: Sunday, February 07, 1999 9:41 AM
Subject: [tuning] Re: back to 12ET

>From: Kraig Grady <kraiggrady@anaphoria.com>
>
>
>
>"D. Stearns" wrote:
>
>> From: "D. Stearns" <stearns@capecod.net>
>>
>> From: Kraig Grady <kraiggrady@anaphoria.com>
>>
>> >But then again , after writing in just I can't understand how you can
go
>> back to 12ET. But Lou has managed to do it too!
>>
>> As I have read (mildly) anti12-tET quotes attributed to both... I wonder
if
>> the (narrower) confines of having to accommodate a milieu of �specialized
�
>> performers has had much to do with this?
>>
>> Dan
>
>Hopefully the days of "specialized " performers is drawing to an end. In
fact
>the need for performers of more creative roles as active participants is in
>demand. Who needs Dictators anyways. In fact there are some composers who
in
>reality are already a conglomerate of efforts with the "composer" as front
man.
>We have more and more Composer/Performers. Economics is the driving force
>behind these works.
>-- Kraig Grady
>North American Embassy of Anaphoria Island
>www.anaphoria.com
>
>
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"D. Stearns" wrote: Is it not (comparatively) far more difficult to secure an

> interested _and proficient_ cadre of these performers? And do these
> realities occasionally effect the technical specifications towards which a
> composer (specifically higher profile �microtonal� composers like a
> Harrison, or a Riley) composes?

This is very much the case. But before recordings it was necessary to have
performers to play the music in different cites etc. in order for people to
hear it. With recordings, is this necessary when one good recording is all
that's needed. Maybe a tour!

>
> If I want my compositions played who am I going to get
> to play my microtonal guitar parts?

YOU! Isn't what you want you music to be heard as opposed to performed per se.

>
> >Economics is the driving force behind these works.
>
> I�m not sure I understand what you mean� That economics drives "a
> conglomerate of efforts with the �composer� as front man�"? Or that a
> �microtonal� composer could be forced by "economics" to go back to 12-tET?
> (I'm assuming the former and not the latter... but I'm not certain.)

There is at least one very big composer who is basically a "front" man for
others who take care of various details of the compositions. Orchestration-
Electronic settings and who knows what else. In Hollywood this is the rule as
opposed to the exception. Anyone who thinks that this ReSale by the Yard
MOOOOOOOOOOOOD music people don't have a score of ghost writers is being
mislead!

>
> Dan
>
> -----Original Message-----
> From: Kraig Grady <kraiggrady@anaphoria.com>
> To: tuning@onelist.com <tuning@onelist.com>
> Date: Sunday, February 07, 1999 9:41 AM
> Subject: [tuning] Re: back to 12ET
>
> >From: Kraig Grady <kraiggrady@anaphoria.com>
> >
> >
> >
> >"D. Stearns" wrote:
> >
> >> From: "D. Stearns" <stearns@capecod.net>
> >>
> >> From: Kraig Grady <kraiggrady@anaphoria.com>
> >>
> >> >But then again , after writing in just I can't understand how you can
> go
> >> back to 12ET. But Lou has managed to do it too!
> >>
> >> As I have read (mildly) anti12-tET quotes attributed to both... I wonder
> if
> >> the (narrower) confines of having to accommodate a milieu of �specialized
> �
> >> performers has had much to do with this?
> >>
> >> Dan
> >
> >Hopefully the days of "specialized " performers is drawing to an end. In
> fact
> >the need for performers of more creative roles as active participants is in
> >demand. Who needs Dictators anyways. In fact there are some composers who
> in
> >reality are already a conglomerate of efforts with the "composer" as front
> man.
> >We have more and more Composer/Performers. Economics is the driving force
> >behind these works.
> >-- Kraig Grady
> >North American Embassy of Anaphoria Island
> >www.anaphoria.com

-- Kraig Grady
North American Embassy of Anaphoria Island
www.anaphoria.com