source file: mills2.txt Date: Fri, 10 Jan 1997 11:12:35 -0800 Subject: On a couple of subjects... From: "Jonathan M. Szanto" To Adam (and other mbira fanciers...): Jonathan Glasier has at least one impressive mbira (microtonal), and I believe it was made not by him, but one of his colleagues here in San Diego. They might have insights into both construction and materials, as they have built a few of them (to my knowledge). Re: Bruce and Matt (and the composition/improvisation dialogue): There are even larger issues here, if one cares to think about it. I find value in both sides, but if one is to show the inheirent superiority of a 'new' system (alternate tunings), might it not have more power if it is carefully crafted to illumine those new-found strengths, rather than rely upon the Muse striking at just the right time (we all know that even the best improvisors don't have a great night every time!)? On the other hand, if one creates an entire sound-field in a new intonation, where all of the instruments share the same intonational resonance (my mind wanders to modern [possibly Western] gamelans), then improvisation in that setting might 'show' the listener the beauty (or ugliness) of a particular tuning, without the need for a carefully worked out harmonic scheme. That said, where is this music going? Aren't we all aware that the *only* reason there was the slightest blip upward in sales of classical recordings was accounted for by all of the cross-over and compilation discs last year? There can be no doubt in anyone's mind: the audience for carefully-hewn, artfully crafted, what might be loosely called 'classical' music is **dwindling**. All the new groups, with new hair and attitudinal transplants (Bang On A Can, Icebreaker, Kronos, etc.) - they may sell a few discs and get some press, but this too shall pass. And does anyone, even Neil, think that by refretting guitars and switching intonations he is going to draw crowds the way KISS did last year? Are the audiences driven by a popular format ready, willing, *capable* of acknowledging any 'superior' intonation? Do they want the 'new'? Do they want the 'experimental'? More to the point: do the record companies (the bastards!)? Or maybe we enter the age (or re-enter) of the amateur, in the truest and most wonderful sense, where the only reason is to make *music* - not converts, not money, not careers, not ? Make music. Cheers, Jon [BTW: I haven't been sending the tuning list updates about the Partch site, but I've added material over the last few weeks - stop by. I now have a link to the tuning list, and a few of the people signing the guestbook have indicated interest in tunings; I sent 'em to you kids...] *------------------------------------------------------------------* Jonathan M. Szanto | Partch, standing in a Meadow . . . . . . . . Corporeal Meadows | . . . . . . . . . . the Dreamer That Remains jszanto@adnc.com | http://www.adnc.com/web/jszanto/welcome.html *------------------------------------------------------------------* Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Fri, 10 Jan 1997 20:42 +0100 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA19904; Fri, 10 Jan 1997 20:45:36 +0100 Received: from eartha.mills.edu by ns (smtpxd); id XA19906 Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) for id LAA17399; Fri, 10 Jan 1997 11:45:34 -0800 Date: Fri, 10 Jan 1997 11:45:34 -0800 Message-Id: <32D69AD1.2620@ix.netcom.com> Errors-To: madole@mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu