From: Tuning Digest
To: Joe Monzo
Date: Mon, 23 Nov 1998 13:05:02 -0500 (EST)
Subject: TUNING digest 1590
TUNING Digest 1590
Topics covered in this issue include:
1) Re: Mozart's tuning
2) Re: TUNING digest 1586
3) Wolf: Melodic vs. Harmonic mistuning
4) Lumma's 12-tone just scales
5) Partch Bio
6) Re: TUNING digest 1589
7) Re: Harmony, trinic and triadic -- a reply
8) Re: TUNING digest 1589
9) Re: TUNING digest 1589
10) Tuning Digest archives
11) visiting LA again
12) Re: TUNING digest 1589
13) Re: "Panconsonant" styles and tuning
14) Carl Lumma's Grand Piano in approximate "Centaur" JI tuning
----------------------------------------------------------------------
Topic No. 1
Date: Sun, 22 Nov 1998 11:55:58 -0500
Historically, Mozart may have been surrounded by the latter days of
meantone, or the earlier days of Well Temperament.
That's interesting. I'm sure you know better than I do, but I would have
guessed that Mozart was firmly in the age of well temperament. That because J.S.
Bach was of course a advocate of well temperament, and if my memory serves Bach
died about 10 years before Mozart was born (1750 and 1760).
------------------------------
Topic No. 2
Date: Sun, 22 Nov 1998 12:25:45 -0500
Could someone explain to me why many on this list appear to be hung up on
the triad as a systemic harmonic basis?
Gary Morrison responded:
It's hard to escape the influence of history. Whether desirable or not,
the truth is that most audiences and people in general interpret new
experiences in terms of what they already know.
The fact that people interpret new experiences in terms of what they know
doesn't imply that we must continue to present them with nothing new. But as
when writing words, in writing music, we have to know your audience. The
mindset the majority of listeners will be coming from is triadic, so we need to
bear that in mind as we write.
We can use that fact to our advantage too. They like triads, so heck, give
them triads the likes of which they've never heard before! A new twist on
something they already relate to will get their attention better than something
entirely alien.
------------------------------
Topic No. 3
Date: Sun, 22 Nov 1998 14:18:35 -0800
[Lumma]
any sensitivity to mistuning in melody (making comma adjustments) must be
at least an order of magnitude rougher than the acoustic pleasure
tolerance...
[Wolf]
I am more than a bit thrown back. If you have any short term pitch memory,
you can train yourself to listen for melodic commas and they become glaring
features in a performance.
Yes, you can hear melodic commas in music. But they are heard as
alterations of the source scale. Hearing the 81/80 in 5-limit diatonic
music does not give me the impression that the music is in some strange
8-tone scale. In fact, most listeners do not notice these commas [as is
well-shown by the rampant ignorance in music theory regarding how choirs
prefer to tune their music].
On the other hand, shifting the tuning of a music's harmonies by 81/80's
will cause an immediate and glaring change in the timbre of that music.
What Ivor called "moods" were in fact characteristic changes in the
*timbre* of harmonic music when mistuned in certain ways.
[Wolf]
The quantification of 'acoustic pleasure tolerance' here, on the other
hand, begs for qualification -- in what registers?, with what durations?,
with what instruments? etc..
I think you know what I am talking about. I am identifying the thing that
makes you...
find the representations of fifths and thirds in 22tet just too rough to
use with any sustained instruments or synthesis.
They're too rough, but they're still fifths and thirds. I gave "acoustic
pleasure" its name to keep it seperate from Mr. Erlich's criteria for the
recognizability of intervals. I think previous post in this thread was
rather clear on this.
Never said anything like it.
Carl
------------------------------
Topic No. 4
Date: Sun, 22 Nov 1998 14:21:07 -0500
I'd just like to add one tuning to the list for its beauty and historical
importance and indicate priority for one of the scales mentioned by Carl
Lumma:
The following was used by Lou Harrison in his INCIDENTAL MUSIC FOR
CORNEILLE'S "CINNA" (1955-56) (score in an early Xenharmonikon,
performance by the composer recorded on the excellent cd accompanying the
highly recommended Miller/Lieberman monograph on the composer (Oxford
1998)) for tack piano:
The tuning with two hexanies was used in my own "Trio (The Sands)" (with
Lumma's 5/4 notated as A 1/1), the draft of which was was published in
Xenharmonikon in 1986. Jon Barlow played it in a version for fortepiano.
Topic No. 5
Date: Sun, 22 Nov 1998 14:56:31 -0800
Gilmore goes a bit off the deep end with his occassional psycho-analysis
of some of Harry's situations/characteristics (I find it hard to believe
that Harry's homosexuallity was caused by him being circumsized (sp?) at
the age of eight!)
Not to mention that the book is twice as long as it ought to be,
overflowing with naive reviews of Partch's music and framed in a language
that seems to try to legitimize itself by being 6 and 7 times more
"scholarly" than it would ever have reason to be (you'd think Gilmore was
an aspiring anthropologist).
I'm sorry. But anyone who can criticize Partch's dissatisfaction with the
first staging of The Bewitched has missed the boat in my book.
Carl
------------------------------
Topic No. 6
Date: Sun, 22 Nov 1998 13:10:09 -0800
Regarding the subharmonic line. You may want to check out
RJ. Hanson, Scheider and Halgedahl
and
Guettler, Knut
They claim these are not subharmonics but according to my math, given
inaccuracies in string mass, I say they are wrong and it's close enought
for me.
------------------------------
Topic No. 7
Date: Sun, 22 Nov 1998 13:16:57 -0800
Just to clarify my previous post in light of Margo's response. I wrote:
One might also point out that the Medieval music refered to
in those accounts certainly did not have "full chordal harmony" as
we think of it.
Margo replied, in part:
One complication here is that some of "us" may have different
conceptions of just what "full chordal harmony" implies.
My apologies for the royal first person plural. I was refering to the
context in which the term "full chordal harmony" appears in Dave Hill's
original post, that is, a 19th-century missionary harmonizing indigenous
melodies on the piano. To that missionary, "full chordal harmony" would
clearly mean triadic, common-practice harmony. My point was that the sound
of that kind of harmony was clearly very different from the medieval
polyphony that Dave Hill had refered to as evidence for the ideal of
harmony. Of course 12th-century polyphony had "chords," "harmony," and
sounded "full," but it was not triadic. Would the Indians have reacted
differently had the missionary harmonized their melody as a cantus firmus
in a conductus? Hmmm...
------------------------------
Topic No. 8
Date: Sun, 22 Nov 1998 13:40:19 -0800
Hello to all in a response to Carl!
Very nice constructs but I don't confuse harmonic structures with
scales which are melodically based. This has always been the basic
problem in the west of balancing harmonic structures with melodic
integrity. The construction of Centaur (1977) fulfills the property that
each interval that occurs is subtended by the same number of steps. This
preserves and allows the possibility of recognizable melodic
transpositions. It also has a host of identical tetrachords. This tuning
was given to [Rod] Poole and was the first 12 tones he used on his guitar.
[David] Canright picked up on this scale and has pointed out to me that only 10
of these notes are needed to have at least all versions of Ptolemy's
trichords. In turn his Fibonacci rhythms I got from him. Both Myself
and Erv are already aware of how many tetrads are contained in the
stellate hexanies. Yet neither one of us would call it a scale. In the
same manner Partch did not consider the diamond a scale but the basis of
a 43 tone scale. Wilson has shown how his scale is a 41 tone scale with
two alternate notes. Partch could hear the gaps in his scale and filled
them with ingenuity. Look at the 1-3-5-7-9 double dexany and you will
see a 14 tone scale that is truly a scale. If a harmonic construct is a
scale then any combination of intervals constructed in any fashion could
also be called a scale. In which case the term becomes meaningless.
Anyway you can take the tetradic diamond and omit a tone and still have
3 harmonic and 3 subharmonic tetrads and the host of other CPS
structures could be treated the same way. The notion of accepting
intervals because they are not any worse than the triad in 12-et is
absurd. Why not stay with 12[-et] then!
That certain structures sound too ethnic and are useful only as
shock value is puzzling in that there is nothing shocking about this
music except that it works - and [I] would like to point out, the European
music is ethnic music with a big fat ego. The proliferation of
orchestrated fox hunts and german beer drinking songs I find nothing to
aspire to. Its few moments of brilliance in the last century has been
the result of elements outside its bankrupt tradition: Debussy's and
Ravel's exposure to gamelan, Stravinsky with Russian peasant music and
beyond, Bartok with Eastern European music (mideastern influence).
On the other hand you have Schoenberg. No Comment!
Kraig Grady
------------------------------
Topic No. 9
Date: Sun, 22 Nov 1998 13:51:28 -0800
Could Wolf Please supply us with an example as I cannot crack the code!
Kraig Grady
------------------------------
Topic No. 10
Date: Sun, 22 Nov 1998 15:39:10 -0800
I've begun archiving on the Sonic Arts site
selected postings that I find interesting.
http://www.ixpres.com/interval/td/archives.htm
Not much there yet, but bookmark it and watch
it grow.
Right now they're mostly single postings, but
the idea is to put together postings that follow
a common subject.
- Joe Monzo
------------------------------
Topic No. 11
Date: Sun, 22 Nov 1998 16:08:38 -0800
McLaren and I will be visiting LA again later
this week. We expect to see Erv Wilson, and
hopefully a whole gang of xenharmonicists can
congregate. So this time there's a little more
notice.
Not sure what day yet - probably Friday or Saturday.
If interested in meeting, email me.
- Joe Monzo
------------------------------
Topic No. 12
Date: Sun, 22 Nov 1998 16:49:27 -0800
From: Kraig Grady
To: Tuning Forum
Subject: Re: TUNING digest 1589
Message-ID: <3658B115.68CC81B0@anaphoria.com>
In reply to Wolf:
[the] suggestion of Wilson CPS being used by Babbitt fills
me with horror. This "school" is best where they are. Hopefully his CPS
will not be the depository of old wine in new bottles - in much the same
way many new tunings are. But no one has been able to stop the
mudslides so far!
Kraig Grady
------------------------------
Topic No. 13
Date: Sun, 22 Nov 1998 18:23:30 -0800 (PST)
Recently Bill Alves offered a very interesting comment bringing up a
concept with significant implications for Gothic music and Pythagorean
(3-limit just intonation) tuning:
In fact, there are only a very few truly "pan-consonant" pieces of
music in the West, generally from early 15th century Northern
Europe. Those pieces are probably not outcompeting Schoenberg in
record sales.
While the main point of this witty observation is that Schoenberg is
not alone in European music history in using "dissonances" -- however
defined -- the concept of "panconsonance" invites a revisit from the
viewpoint of tuning theory. However, since this may be a first visit
for many readers, a bit of explanation might not be out of order.
----------------------------------------------------------------
Traditionally, as Bill suggests, the term "panconsonant" refers to a
style of early 15th-century music associated with the English
technique of John Dunstable (c. 1370?-1453), and emulated by such
Continental composers of the 1420's and 1430's as Dufay and Binchois.
Such music tends to present a texture pervaded at most noncadential
points by sonorities involving thirds and sixths, deemed "imperfect
concords" in this era, while avoiding more complex intervals
(e.g. seconds or sevenths) or treating them with considerable
circumspection.
In fact, as anyone can discover by reading through a piece of
Dunstable or the early Dufay, or listening closely to such pieces, the
music generally does use some "dissonances" as defined in this
epoch. Seconds and sevenths occur as passing or other ornamental
tones, and also in some cases as suspensions -- the latter usage, of
course, soon to become a vital feature of Renaissance harmony and
counterpoint.
Taken less literally, the "panconsonant" label might be read in a
comparative sense to signify a contrast with earlier Gothic
practice. Such a contrast could be based at part on real stylistic
differences, and in part on what I would consider a misunderstanding
of 13th-14th century practice and theory.
To convey what I take as the valid sense, we might prefer to draw a
certain contrast between the "heterogenous" texture of Gothic music
and the more "homogenous" texture of the early 15th-century styles in
question marking the Gothic/Renaissance transition as many of us would
define it.[1]
In 13th-14th century music on the Continent, there are striking
contrasts between stable trines (outer octave, adjacent fifth and
fourth, e.g. d-a-d' or d-g-d') and a very wide variety of unstable
sonorities, many of them including seconds and sevenths.
In the "panconsonant" music of the early 15th century, this contrast
is somewhat muted in both directions. While trines continue to be the
favored sonorities at points of cadential repose, at other points
sonorities featuring thirds and sixths -- but not seconds or sevenths
-- seem to flow smoothly one into another. Whether one chooses to
regard this as a clarification or as a "blurring" of harmonic
organization -- and I join with Richard Crocker in considering the
latter view just as valid as the former -- it is certainly a
significant change.[2]
Unfortunately, the term "panconsonant" seems to reflect the
misunderstanding that composers previous to Dunstable and Dufay wrote
bold sonorities including major seconds and minor sevenths, for
example, because they were not very concerned with harmony or only
took note of the intervals between certain parts, for example the
tenor and each of the other voices.[3]
We now know that a theorist such as Jacobus of Liege (c. 1325)
requires that recognized multi-voice sonorities have only consonae
(concordant intervals) between all the voices, while admitting major
seconds and minor sevenths as "imperfect concords."
More generally, at least one major school of Gothic theory takes a
"sliding scale" approach to concord/discord: M3 (81:64) and m3 (32:27)
are "relatively concordant but somewhat tense," while M2 (9:8) and m7
(16:9) are "relatively discordant but somewhat compatible." By making
the former ratios rather complex, and the latter ratios ideally
simple, Pythagorean tuning nicely concords with this subtle scale of
tension.
>From a tuning perspective, the "panconsonant" epoch of around
1420-1450 seems to mark a transition from a modified system of
Pythagorean tuning already in use around 1400 with schisma thirds in
prominent places (e.g. d-f#, e-g#, a-c#') to early meantone systems.
This shift toward more restful thirds at or very near 5:4 and 6:5
correlates with a more and more pervasive use of these intervals, in
contrast to the more active Pythagorean role still advocated by such
early 15th-century theorists as Prosdocimus and Ugolino of Orvieto.
----------------------------------------------------
One complication of the term "panconsonant" is defining the
"consonant" part. Since consonance is a musical term with many
meanings and contexts, it seems easier to point to some possible
"panconsonant" styles at various epochs of medieval and Renaissance
music than to attempt a global definition.
------------------------------------
Strict parallel organum, using only the stable concords or
symphoniae (1, 4, 5, 8, and extensions), would seem to be a form of
panconsonant music which can be simple to improvise and very beautiful
in 898, 1198, or 1998. Since only the symphoniae are used, the term
pansymphonious might be felicitous, this adjectival form avoiding
confusion with later associations attaching to symphonic.
The same 9th-century treatises documenting this art also describe more
varied forms of improvised polyphony including unstable intervals
(e.g. M2, M3) and oblique or contrary motion, and by the time of Guido
d'Arezzo's Micrologus, a deliberate contrast between stable and
unstable intervals is a part of the style in practice and theory.
However, certain examples from the later 11th century suggest the idea
of a pansymphonious style using only unisons, fourths, fifths, and
octaves, but seeking to mix these intervals with a variety of
motions. Here the main problem is that such compositions will lean to
rather disjunct melodies, since it is impossible to move by conjunct
contrary motion between two stable intervals without an intervening
unstable interval. The best we can do is stepwise motion in one voice
and thirdwise motion in another (e.g. 4-1, 5-8).
Thus a rich assortment of progressions by conjunct contrary motion
resolving unstable intervals -- M2-4, m2-4, m3-1, M3-1, m3-5, M3-5,
M6-8, m6-8, M6-4, m6-4, m7-5, M7-5 -- serves both to facilitate
smoother melody and to impel directed cadences in the two-voice music
of the later 11th and 12th centuries. Perotin (c. 1200) and his
13th-century successors use these resolutions as elementary building
blocks of dynamic multi-voice cadences.
---------------------------------------
One student of the Notre Dame conductus around 1200, Vincent Corrigan,
points to a style of three-voice writing in which the parts form
mainly concordant sonorities with little sense of prominent tension.
Such pieces might have mainly stable trines (e.g. g-d'-g', g-c'-g'),
or simple fifths or fourths, at most main beats, with other sonorities
rather incidental.[4]
Here, as in the early 15th century, "panconsonance" means not the
utter absence of more "dissonant" or "unstable" intervals, but their
comparatively restrained or inconspicuous use.
---------------------------------------
Some English works of the era 1200-1400 feature a pervasive use of
thirds -- sometimes even in final sonorities -- and also, beginning
sometime around 1300, a similar use of sixths. If more complex
intervals (e.g. M2, m7) are avoided or treated cautiously, then a
"panconsonant" style with tertian leanings somewhat akin to that of
the early 15th century results. The famous round Sumer is icumen in
(c. 1240?), and later settings such as Beata viscera (c. 1300)
and Angelus ad Virginem (14th c.?) might serve as illustrations.
Such dialects of English music might especially invite a tuning of M3
and m3 leaning toward 5:4 and 6:5, a performance practice suggested by
Steinred of Dover (12th or 13th c.) and Walter Odington (c. 1300).
More conjecturally, one is tempted to wonder if a 17-note Pythagorean
octave described in an English treatise possibly dating from around
1275 might have been used in practical keyboard instruments to obtain
schisma thirds at as many locations in the scale as possible.[5]
Here it is well worth noting that while some English Gothic styles
fit this category of "panconsonance," others lean toward a bolder use
of seconds and sevenths, often in ways agreeing with 13th-14th century
Continental practice and theory. Interestingly, some of these other
styles may fit a different category we are about to consider.
------------------------------------------------------
While the prime concords of trinic music are the stable symphoniae,
Jacobus of Liege emphasizes the role of various unstable "concords" by
including M2, m7, and M9 in this category. As long as those intervals
he regards as "discords" (m2, M7, A4 or d5) are excluded from vertical
sonorities, the remaining "concords" may be used in a wide range of
combinations.[6]
Some works of Machaut, and also of 14th-century English composers,
might approximate this ideal in practice. These pieces prominently use
sonorities such as an outer major ninth and two fifths (e.g. g-d-a'),
or minor seventh, fifth, and minor third (e.g. e-b-d' or e-g-d') while
possibly tending to treat sonorities with m2 or M7 more cautiously.
----------------------------------------
While the dissonant suspension is central to the cadential language of
the Renaissance, it is nevertheless quite possible to have brief
compositions (often excerpts from longer works) consisting literally
of "consonant" sonorities only, especially in note-against-note
writing. For example, Orlando di Lasso's setting of Ecce enim in
iniquitate from his Penitential Psalms could fit in this category,
with the possible exception of one sonority including an augmented
fourth between two upper voices of M6\m3 (clearly unstable, but
sometimes regarded as a "concordant" combination).
In usual practice, however, as I would read Bill to imply, the subtle
but vital tension of the suspension does indeed punctuate the
otherwise usually smooth flow of tertian consonances. Zarlino tells us
as much when he says that it is possible to write cadences without
dissonances, but that they simply will not be as artful and
satisfying.
------------------
1. For a concise statement of the Gothic/Renaissance transition as
seen in these terms, see Richard Hoppin, Medieval Music (New York:
W. W. Norton, 1978), pp. 522-524.
2. Taking the tertian style of the 18th century as a norm, traditional
historians not surprisingly regard the "panconsonant" style of the
early 15th century as an "improvement." From a 20th-century viewpoint,
especially one informed by xenharmonic developments, both Gothic and
Renaissance styles represent equally valid subsets of musical
possibilities.
3. Franco of Cologne (c. 1260) gives a rule of thumb that if a third
or fourth voice forms a discord with one part, it should form concords
with the others. Essentially similar rules can be found in Zarlino
(1558), Morley (1597), and Bernhard (c. 1655?). Guidelines of this
kind, while subject to many exceptions in practice, suggest that the
student should consider all voices.
4. On this "trinic panconsonant" style (my term), see Vincent Justus
Corrigan III, The Style of the Notre Dame Conductus (Ph.D. disserta-
tion, Indiana University, 1980), 2 vols, Volume I, 119-120.
5. My special thanks to Brian McLaren for his invaluable discussions
with me on the topic of English consonance/dissonance theory and
tunings. The early English treatise presenting a 17-note octave,
Sequitur de synemenis (c. 1275?), is included in Jan W. Herlinger's
translation of Prosdocimo de' Beldomandi, Brevis summula proportionum
quantum ad musicam pertinet and Parvus tractatulus de modo monachordum
dividendi (Greek and Latin Music Theory), Lincoln: University of
Nebraska Press, 1987, ISBN 0-8032-3677-8, Appendix B, at pp. 123-135.
6. See Jacobus of Liege, Jacobus Leodiens Speculum Musicae,
ed. Roger Bragard, Corpus Scriptorum de Musica 3 (7 vols), Rome:
American Institute of Musicology, 1955-1973, especially the catalogue
of multi-voice sonorities in Book 4, Chapter 51, pp. 124-126.
Most respectfully,
Margo Schulter
------------------------------
Topic No. 14
Date: Mon, 23 Nov 1998 12:28:26 EST
To Carl Lumma: I'm delighted to learn about your piano
and wish you much success and enjoyment with it.
Perhaps the concluding words to the article on
"temperament" in Groves Dictionary of Music and
Musicians will bring you encouragement - "...It
rests with the composer to apply the material of
mean and just intonation with which he is now
provided. The possibility of obtaining perfect
tuning with keyed instruments is one result of
the recent great advance in musical science, the
influence of which seems likely to be felt in no
branch of the art more than in Temperament" -
in "A Dictionary of Music and Musicians"
Edited by Sir George Grove, D.C.L., Vol. IV
pp. 70-81, Original Edition of 1895. Perhaps
the saying: "Better late than never" applies here.
------------------------------
End of TUNING Digest 1590
I welcome feedback about this webpage: corrections, improvements, good links.
by Gary Morrison
by Gary Morrison
by Carl Lumma
by Daniel Wolf
by Carl Lumma
by astrange@email.sjsu.edu (Allen Strange)
by alves@orion.ac.hmc.edu (Bill Alves)
by Kraig Grady
by Kraig Grady
by monz@juno.com
by monz@juno.com
by Kraig Grady
by "M. Schulter"
by Ascend11@aol.com
From: Gary Morrison
To: Tuning Forum
Subject: Re: Mozart's tuning
Message-ID: <36584218.3B6BF40A@texas.net>
From: Gary Morrison
To: Tuning Forum
Subject: Re: TUNING digest 1586
Message-ID: <3658490E.8D900CA9@texas.net>
From: Carl Lumma
To: Tuning Forum
Subject: Wolf: Melodic vs. Harmonic mistuning
Message-ID: <19981122191812671.AAA537@nietzsche>
While Mr. Lumma locates what he calls 'acoustic pleasure' in the cochlear
system...
From: Daniel Wolf
To: Tuning Forum
Subject: Lumma's 12-tone just scales
Message-ID: <199811221421_MC2-6124-F5E6@compuserve.com>
25/18
/ \
/ \
/ \
/ \
10/9-------5/3-------5/4------15/8
\ /|\ /|\ /
\ / | \ / | \ /
\ / 7/6-------7/4 \ /
\ /,' `.\ /,' `.\ /
4/3-------1/1-------3/2
/\ /
/ \ /
/ \ /
/ \ /
16/15-----8/5
35/32-----105/64
/ / \ / /
5/4--/---\15/8 /
/|\ / \/| /
/ | \ /\| /
/ 7/4-------21/16
/ // \ \ / / /
1/1-/---\-3/2 /
/|\/ \/| /
/ |/\ /\| /
/ 7/5------21/20
/ / \ \ / /
8/5-------6/5
From: Carl Lumma
To: Tuning Forum
Subject: Partch Bio
Message-ID: <19981122195608500.AAA268@nietzsche>
From: Allen Strange
To: Tuning Forum
Subject: Re: TUNING digest 1589
Message-ID:
"Anomolopus low-pitched tones from a bowed violin string"
Catgut Acoustical Society Journal, vol 2, no 6 (series II), November 1994
"Wave analysis of a string bowed to anomalous low frequencies", op cit
====================================
* Vice-President for Conferences
* International Computer Music Association
* 2040 Polk St. Suite 303
* San Francisco, CA 94109 U.S.A.
* Vox ICMA Central +01 650 493-9448
* Fax ICMA Central +01 650 493-8045
* Home: +408 354-1591
* Fax Direct + 408 395-2648
* icma@email.sjsu.edu
* http://music.dartmouth.edu/~icma
* http://www.music.sjsu.edu/COMP/strange.html
* Home: 4 Euclid Avenue, Los Gatos, CA 95030
******************************************
From: Bill Alves
To: Tuning Forum
Subject: Re: Harmony, trinic and triadic -- a reply
Message-ID:
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
^ Bill Alves email: alves@hmc.edu ^
^ Harvey Mudd College URL: http://www2.hmc.edu/~alves/ ^
^ 301 E. Twelfth St. (909)607-4170 (office) ^
^ Claremont CA 91711 USA (909)607-7600 (fax) ^
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
From: Kraig Grady
To: Tuning Forum
Subject: Re: TUNING digest 1589
Message-ID: <365884B2.A89335@anaphoria.com>
North American Embassy of Anaphoria Island
http://www.anaphoria.com
From: Kraig Grady
To: Tuning Forum
Subject: Re: TUNING digest 1589
Message-ID: <3658874D.DE72460E@anaphoria.com>
North American Embassy of Anaphoria Island
http://www.anaphoria.com
From: Joe Monzo
To: Tuning Forum
Subject: Tuning Digest archives
Message-ID: <19981122.153931.-69213.0.monz@juno.com>
monz@juno.com
http://www.ixpres.com/interval/monzo/homepage.html
From: Joe Monzo
To: Tuning Forum
Subject: visiting LA again
Message-ID: <19981122.160839.-69213.3.monz@juno.com>
monz@juno.com
http://www.ixpres.com/interval/monzo/homepage.html
North American Embassy of Anaphoria Island
http://www.anaphoria.com
From: Margo Schulter
To: Tuning Forum
Subject: Re: "Panconsonant" styles and tuning
Message-ID:
1. "Panconsonance" in 15th-century style: tradition and revision
----------------------------------------------------------------
2. Earlier and later "panconsonant" styles, 850-1600
----------------------------------------------------
2.1. Pansymphonious music (850-1100)
------------------------------------
2.2. "Trinic panconsonance" around 1200
---------------------------------------
2.3. English "panconsonance," 1200-1400
---------------------------------------
2.4. Jacobus of Liege and "pancompatibility" (c. 1325)
------------------------------------------------------
2.5. "Panconsonance" in the 16th century
----------------------------------------
Notes
------------------
mschulter@value.net
From: Dave Hill
To: Tuning Forum
Subject: Carl Lumma's Grand Piano in approximate "Centaur" JI tuning
Message-ID: <703a503b.36599b3a@aol.com>
*************************
next Tuning Digest
or try some definitions.
Let me know if you don't understand something.
