source file: mills2.txt Date: Thu, 24 Oct 1996 20:29:43 -0700 Subject: Re: notation From: Johnny Reinhard Before meaningfully playing a microtonal piece of music, pitch discrimination must be heard in the mind's ear of the player; and at the same time be written clearly regarding ideal theoretical pitch placement. Interval relationship sensibilities are learned independently from exact points of pitch, however. The sense and the logic of the relationships of tones is apart from their symbology. Using the method of notation I described is the most accurate and straight forward approach I've yet discovered. Johnny Reinhard American Festival of Microtonal Music 318 East 70th Street, Suite 5FW New York, New York 10021 USA (212)517-3550/fax (212) 517-5495 reinhard@ios.com On Thu, 24 Oct 1996, Paul Rapoport wrote: > I am interested in Johnny Reinhard's remarks that cents notation is > helpful to performers. I can readily believe this, provided that fine > discriminations aren't necessary. I imagine that performers then identify > a sound or fingering with a cents designation. Would that be right? > > I still don't like this for analytical purposes, however. I wonder > whether performers prefer this notation to others or just get used to it. > > Paul Rapoport > Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Fri, 25 Oct 1996 09:26 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA13031; Fri, 25 Oct 1996 09:28:13 +0200 Received: from eartha.mills.edu by ns (smtpxd); id XA12887 Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) for id AAA02629; Fri, 25 Oct 1996 00:28:10 -0700 Date: Fri, 25 Oct 1996 00:28:10 -0700 Message-Id: <2.2.32.19961025072422.006ab47c@adnc.com> Errors-To: madole@ella.mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu