AW.: RE: More (or any) Schubert in 5-limit JI

In einer Nachricht vom 12/21/99 11:05:05 PM (MEZ) Mitteleurop�ische Zeit
schreibt PErlich@Acadian-Asset.com:

<< Paul Hahn made a pretty persuasive argument that these should not be
considered puns at all. >>

But if there is any single element of classical harmonic rhetoric that is
both _wichtig_ and _witzig_, even _witzchtig_, it is pivot chords. (Indeed,
anglophones might even find them to often be "impertent" as well).

I've learned the hard way that common practice harmony teaching, particularly
in the US, is largely divorced from the rhetorical and affective context of
the practice. When harmony is reduced to a matter of pushing notes around on
staff paper, then what those figures might mean is given short change. When
one hears a chord, knowing that it has function a in key x, and then suddenly
discovers with the following chord that that it has taken on a completely
different function b in key y, or when one hears a chord with multiple
meanings get resolved in an unexpected way, then you're really at the height
of classical tonal practice. The affect of such moves can be surreprising,
tragiddical, pyronic, even punny...

Incidentally, my current project, a small "opera seria for handpuppets" (for
which Edw. Gorey has written the libretto) is set in the 18th century and the
tonal language in largely 18th century as well. (I'm trying to have archaic
and eat it, too). It is set for a small ensemble with continuo tack piano in
Eb-G# standard meantone; meantone is so full of puntentiality that I've
taken to calling it "swell tamperment".