source file: mills2.txt Date: Tue, 3 Sep 1996 15:35:10 -0700 Subject: RE: From McLaren From: PAULE Whoops, I almost missed this one. >Pardon the hell out of me, but I don't see a damn thing funny >about anti-Semitism. If you visit the Holocaust >museum in Washington D.C. you'll see one entire room with nothing >but the photographs and the shoes of a whole shetl full of men, >women and children murdered in a Nazi concentration camp. >When you leave that room, you'll be shaking. >I don't find that hilariously amusing. I guess I have to "lighten >up." Maybe then I'll be able to snicker and giggle when studying >the boxcars in which families were transported to the gas >chambers at Auschwitz. That was my family, not yours, in that shtetl. If you want to put words in my mouth, like "hilariously amusing" and "lighten up," please restrict it to musical topics. Anyway, the point is that Mr. Taylor clearly did not accuse you of being anti-semitic, despite your pleas to the contrary. >The idea >that someone might find the neutral third discordant >would never have occurred to me: and the idea that the >7/5 might be heard as *more* concordant is extremely >surprising. Apparently, barbershop singers use 7/5 all the time. See if you can get them to sing neutral thirds in front of an audience. Anyone care to back me up? Neutral thirds are very pungent harmonies. As for 22-tET vs. 19-tET, isn't it possible to feel that they are very different but to like both for the unique characteristics that each might have? You can't really make a direct comparison that covers all potential uses. I may have said - not "decried" - that 22 sounds "slimy" when used for diatonic progressions such as I-IV-II-V-I in a major key; this is because the second scale degree must adjust by a hugely inflated syntonic comma of 55 cents. Blackwood's 22-tone etude continues to strike me as ugly, while I love his 19-tone etude. Nontheless, I must "like" 22, since I have, and will continue to, exert the vast majority of my microtonal energy to exploring 22-tET. Randy Winchester's music demonstrates some other effective approaches to 22-tET. Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Wed, 4 Sep 1996 01:24 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA17470; Wed, 4 Sep 1996 01:25:49 +0200 Received: from eartha.mills.edu by ns (smtpxd); id XA16901 Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) for id QAA12819; Tue, 3 Sep 1996 16:25:47 -0700 Date: Tue, 3 Sep 1996 16:25:47 -0700 Message-Id: Errors-To: madole@ella.mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu