source file: m1515.txt Date: Wed, 26 Aug 1998 17:25:19 +0000 Subject: C21 Orch Instrs - Contents From: "Patrick Ozzard-Low" Further to my message yesterday about the instruments paper - I thought it might be useful just to list some of the contents headings and Appendices (to give a general idea.....) On the subject of Appendices - I should have mentioned that I'm especially grateful to Paul Hahn for 'co-authoring' Appendix IV, which is an exposition of the idea of consistency in Equal Temperaments; to Paul Erlich whose idea it originally is; and to to John (Chalmers) and Manuel (Op de Coul) who helped out during my hour of need! Thanks to all! Am trying to make it available ASAP. 1. Overview - Why 21st Century Orchestral Instruments? - Intonational Characteristics of Pitched Acoustic Instruments - Twelve Division Equal-Temperament - in Theory and Practice - Practicalities of Intonation on New Acoustic Instruments - The Keyboard and the Success of Twelve Division Equal-Temperament - Towards a Provisional Alternative Tuning System Standard (or Standards) - A Centre for 21st Century Acoustic Instruments 2. Towards the 'Acoustic Orchestra of the 21st Century' - Continuity and Disturbance - New Instruments in the Orchestra? - Acoustic Instruments & Electronics, Funding and Market Forces 3. Virtuosity and Otherness - Extended Techniques - Orchestral Electroacoustics 4. Which ATS would be most effective for the 'Acoustic Orchestra of the 21st Century'? - Criteria - Commitment, Availability, Cost - Feasibility : Instruments and Performance - Some Basic Terms - Just Intonation and Temperament - Beyond the Traditional Criteria for Evaluating Alternative Tuning Systems - Consonance and Dissonance - Relating Tuning and Timbre - from Helmholtz to Sethares (1) - Relating Tuning and Timbre - from Helmholtz to Sethares (2)=B7 - Terhardt's 'Two-Component' Theory of Consonance - Intonational Tolerance and 'Zonality' - Large n-Division Temperaments - Further Mathematical and Analytic Approaches - Provisional Conclusions 5. Preliminary thoughts regarding New Instruments Woodwind - 'Logical Woodwind' - Software Configurable Electronic Keywork - Adaptations of Tone-Hole Configuration and Keywork - Multiple Bore Woodwind - Valve-Controlled Length Corrections using 'Branched Tubes' - Alternative Tone-Hole Closure Mechanisms - Slide (or 'Telescopic') Mechanisms - 'Logical Feedback' Woodwind: Adaptive, Fixed & Multiple ATS; the 'Networked Orchestra' - Alternative Woodwind Technologies in Combination Brass - Valve Systems - Trumpets for Alternative Tuning Systems - French Horn - Multiple Bore and Keyed Brass - 'Logical' Brass Bowed Strings - Virtual Frets - visual and tactile - The 'Undulating Fingerboard' - Logical Strings? - Scordatura and Resonance The Piano - Piano Timbre and a New Piano - Keyboard Layout and Large-Number Divisions of the Octave - Weight, Size, Stringing - Keyboard Action and Hammer Action - The 'Logical' Piano - New Technologies for Piano Tuning - The Harp 1 - The Voice, Guitar, Organ, & Tuned Percussion (This is unfortunately omitted ) - An Inharmonic Instrumentarium? - Provisional Conclusions about New Instruments 6. Digital Technology and the realisation of ATS using Acoustic Instruments 7. Conclusions =B7 A Giant Jigsaw Puzzle =B7 A Project Network =B7 Harmony and Revolution 8. APPENDICES APPENDIX I (a) Interval zones and 'rational intervals' considered for harmonic tones; (b) Provisional table of smaller 'interval zones' and intonational tolerance; (c) Provisional table of larger 'interval zones' and intonational tolerance. APPENDIX II 44 tuning systems compared to the zones/ratios given in APPENDIX I . APPENDIX III (a) The order of approximations in 5 to 53-ET of 22 'primary' intervals. (b) Greatest deviations found in 5 to 53-ET of the same 22 intervals. (c) 5 to 53-ET ordered in terms of the sum of deviations from the same 22 intervals. (d) 5 to 53-ET ordered by the sum of deviations multiplied by n APPENDIX IV Consistency, completeness, and diameter. APPENDIX V A fusion model of melodic harmonicity: (a) Explanation; (b) Interval ratios implicit in an idealised complex harmonic tone; (c) Preponderance of interval classes to the nth harmonic; (d) Snapshots of preponderance at arbitrarily chosen cut-off points. APPENDIX VI Examples of alternative keyboard layouts - (a) Sims' 36-division keyboard design; a 19-divsion keyboard layout (taken from Yasser); (b) Bosanquet's generalised keyboard; Trasuntino's 31-division keyboard. APPENDIX VII (a) String distribution and totals for a 7=BC octave piano with 12 to 41 octave division; (b) String distribution and totals for a 6=BC octave piano with 12 to 41 octave divisions. 9. Bibliography ------------------------------ End of TUNING Digest 1515 *************************