source file: mills2.txt
Date: Fri, 6 Dec 1996 08:09:02 -0800

Subject: Haverstick's exhortation

From: John Starrett <jstarret@tiger.cudenver.edu>

All-
        Recently Neil brought up the subject of performance skills, and
I'm glad it was he and not me. Although I am not as expert a player as
Neil (I play bass, some keyboard and a little StarrBoard), I have often
wished there were more fiery performances of microtonal works. It's not
that there are none, but that there aren't enough to keep me sated.
However, I believe the problem is more one of numbers than of
percentages.
        My guess is that, aside from pure theorists (who I see as vital
to a relatively new field), the percentage of microtonal players of various
technical proficiencies is about the same as it would be in the 12tet 
world had 12tet instruments just recently become available. Remember that 
microtonal instruments are not widely available, so the uninitiated have 
little chance to hear and see these new tonal resources being used, much 
less try them out themselves. It takes a community of practitioners to 
bring any art or science to high form, and this particular community is young 
and small.
        Some of you may remember when Chuck Berry was considered a good
rock and roll guitarist. Now any 12 year old who can't rip out Johnny B.
Goode after a couple of hearings is considered a loss. Its all because of
the musical environment, where young guitar players (who must actually be
able to get their hands on a 12tet guitar) are saturated with the sounds 
of thousands of better players (via radio and other media), causing the 
young player to stretch and take his art to a higher level. This kind of 
immersion feeds the process, causing tremendous growth.
       Sometimes evolution occurs via punctuated equilibrium. Witness 
the  leap in bass playing technique after LaFaro, Graham, Clarke and 
Pastorius. A great player can inspire legions others, provided, of 
course, that the legions can get their hands on a playable instrument. 
        As I see it, we may be near the critical point, where the art of 
playing microtonal music will advance by leaps. There are a number of 
inspiring players, playable instruments are just starting to become 
available to the general public, awareness of microtonality is increasing 
(due in some part to the www), and music is being written for the 
instruments that exist.
        I dont view Neils criticism as petty or misdirected, but rather 
as the heartfelt wish of a passionate man for a world he senses is just 
over the horizon.

John Starrett  


Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl
           with SMTP-OpenVMS via TCP/IP; Fri, 6 Dec 1996 17:41 +0100
Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA02033; Fri, 6 Dec 1996 17:43:04 +0100
Received: from eartha.mills.edu by ns (smtpxd); id XA02030
Received: from  by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI)
	for <manuel.op.de.coul@ezh.nl> id IAA22125; Fri, 6 Dec 1996 08:43:01 -0800
Date: Fri, 6 Dec 1996 08:43:01 -0800
Message-Id: <199612061139_MC1-CBF-419@compuserve.com>
Errors-To: madole@ella.mills.edu
Reply-To: tuning@eartha.mills.edu
Originator: tuning@eartha.mills.edu
Sender: tuning@eartha.mills.edu