> >Greetings, > I will agree that new tonal resources may help composers create music they >otherwise would not have created. I don't know that we can blame the >temperament, but there is another aspect that needs to be considered. > In my reading, it appears that theorists of 200 years ago were more aware >of their intonational "DNA" than those of today. Composers of Mozart's time >seemed to have been aware of at least two tempering schemes, the restrictive >and non. This is a somewhat more educated milieu than today's average >pianist operates in, or even the majority of today's "famous' concert >artists. So yes, the restoration of temperament awareness may move us one >step closer to musical greatness again. (Though Gershwin is going to be a >long haul hitter from the ET era!) Ravel may even mark a limit of tonality's >lifespan in the composer ranks, but I am not musicologist enough to know. >Somebody take it from here....... >Ed Interestingly, tonality has experienced a resurgence even in the rarified ivory tower composition world. I have had the pleasure of introducing non-equal temperaments to one modern composer, (though he is long out of the ivory tower, and gave up his atonal ways years ago) and he immediately noticed and responded to the difference. He is quite comfortable on my Victorian tuned grand, and notes that he improvises differently than on his usual electronic keyboard. This has changed his thinking. This will be changing his composing, I have no doubt. He also plays my harpsichord...and is adjusting. Haven't tried him on 1/4 comma yet, but it will happen. Also interestingly, he, and he says this is true of many composers, hears what he is composing...for the instrument he intends it, regardless of what he is using to compose...to transcribe the notes. So, even though he is committed to his keyboard.....for he can play into the MIDI keyboard and Finale runs into score, greatly speeding the composition process....... his head is hearing a "real" piano,....or a guitar.....or a harpsichord. A good composer knows the strengths and weaknesses of the instrument, whether it be the quality of open strings on a violin (a feature of the tuning scheme after all) or the color of Ab vs. C major, once his ears have "thought" about it. They are an interesting breed, with minds I'd love to peek into and hear what is going on. Hmmmm perhaps I need to commission something....... ab Anne Beetem Harpsichords & Historic Pianos 2577 Trapp Ave. Coconut Grove, FL 33133 abeetem@gate.net . 305-860-9190 fax (305)-857-9901
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