source file: m1528.txt Date: Sat, 12 Sep 1998 14:58:42 -0700 Subject: Re: TUNING digest 1526 From: Kraig Grady Concerning DJWOLF comments: I strongly recommend that you all urge him to publish his insights maybe once the scores are out! Erv Wilson devised a good notation system for the diamond that I will post as soon as possible. As Wolf has a great understanding of Partchs works, I feel that it isn't as easy as he makes it sound to transcribe these works . On looking at Castor and Pollux much of the Kithara parts are completely outside the diamond with the I or sub I being the only tones in the 43 tone scale. With these instruments Harmonic and subharmonic hexads exist on any of the 43 tone scale. There is also the problem of the notated note compared to the perceived note as with the cloud chamber bowls. Those that have worked with any timbre with strong inharmonic partials are amazed with the changes of sounds in different environments( figure-ground phenomenon) and Partch ear was always his guide. These are just two problems. Personally I feel the publishing of these scores besides offer a great insight into the extraordinary ear of Harry Partch will also result in an slew of bastardized performances. This has already been the case! (no names). The performance of these works on anything besides the original instruments ( or replicas) falls into this category. There is also the context in which these works are presented. To present these works alongside the sloppy intoned clusters of the likes of Ligeti ( who recently thought to throw in a few octarooni as a tribute to Partch) is like reading Sandanista Poetry at a republican convention. Partch drew a line in the sand and the avant-garde attempt to "assimilate" of him reminds me of China's method of conquering the mongol hordes (Disney is falling for this one as we speak!). So much is determined by beginnings (Take western doctors, who will always be part grave robbers!) Just as in this case, there will be the dreamers that remain, there will be the bitterness that remains. We should be hesitant to write off this bitterness in some pseudo Freudian explanation. Like depression, our society is uncomfortable with such emotions. Look at all the varied forms of chemical or electrical lobotomy at hand to avoid any such "reflections. Yet it is this very soil out of which new growth takes place, in Partchs case, unique beauty (the first time I've seen that word here!). I digress to return. There is a tendency to see music as an "evolutionary" process where music has gradually evolved (logically) out of the previous. But could we not as easily explain logically Bach following Mozart as an increase of complexity for instance. Beside that point, many seem to think that mirotonality will evolve gradually out of the present mainstream. Partch took instead a quantum leap perhaps knowing that western music like its religions have grown by "schisms" of abrupt change. It is perhaps of this necessity of a true change that caused his spirit (and bitterness) of non compromise. He understood the strength of his enemy (and they were and still are his enemy) and he struck as hard as he could. Show no quarter!!!! The childless blob of the sterile avant garde hybrids are now after Partch! What they could not defeat with artistic worth they try by dilution, "bestowing recognition", association, and assimilation. Its an old trick, like the Academy Awards hurriedly giving Fellini an "honorary" award before his death. Don't accept these horses from troy blocking our way in and out of Gate 5. And above all ,watch your back! -- Kraig Grady North American Embassy of Anaphoria Island http://www.anaphoria.com