William -
I didn't mean "12-note" in the sense of "playable on a twelve-note-per-octave keyboard". In that sense, like you, I like Valotti, Young, Werkmeister III, Meantone, Pythagoras - the more the merrier! I meant "12-note" in the sense of dodecaphonic, serial. The theory of giving all 12 semitones equal exposure through note rows, to suppress the feeling of a tonal centre - that logically implies equal temperament. In a serial piece there's no reason ever to write, say, F flat or B sharp. G sharp and A flat are, in serial music, absolutely identical - unlike in tonal music. Maybe some serial music with strong residual tonality - say Berg's violin concerto - would be an exception. But the extreme anti-tonal rows in, say, late Webern, these definitely require equal temperament.

Laters

Guy

Guy,

Very interesting distinction. However think of those 12 tone rows with the distortions of different tunings - delicious! Oh Mathis, where are you? Whatever made me think of you when the subject of "distortions" came up? Could it be your willful timestretched distortion of the vibraphone?

Hey All,

Guy, just thought I'd mention Lutoslawski. Sort of a "disciple" of Penderecki -- in the Polish avant-garde sense. He called his process "triadic atonality", and he created some very interesting and powerful work (mostly the later works -- the early ones sounded like warmed-over Bartok, to me). His music is certainly on the avant-garde side of things, but still has a broad expressive range.

J.

Yes - I've heard some of his music and really liked it. Please recommend some tunes!

My hero of the European avant-garde is Ligeti. He's just got it all. He can be atonal or tonal, he's explored non-standard tunings, he does things which are genuinely new, he never sits on his laurels. He's open to everything from Fluxus-style pranks to minimalism to Conlon Nancarrow to African music, but the results always sound like him and nobody else. Because he never signed up to being a card-carrying serialist, he's never been - like Boulez (sorry Pierre!) - mentally unfree. Some of the music gets through on a first listen, some is difficult and demanding, but, for me, it's always worth the effort. I don't really "get" his opera, but then I don't "get" most operas (my favourite opera is Monteverdi's Orfeo - I think it's all been downhill since then!). Check out "Clocks and Clouds" - it's brilliant!

Laters

Guy

Hi Guy,

yes, I completely agree with Ligeti. I bet you know Volumina (for organ). I once wanted to cross this piece with a song by Harry Belafonte... then I heard your Pop-version and gave up.... [:D]


Bill, about dissonance and horror:
Today I had another opportunity to hear choral works by Perotin. There are so stunning and amazingly beautiful dissonances in there, it´s breathtaking. And no association with horror at all. Furthermore these guys in ars antiqua really had swing, too.
I really find it a pity that with Palestrina everything became very consonant and "beautiful". It took several hundred years to appreciate a dissonance again. I don´t want to go back.

The vibraphon piece indeed deviates from equal or well-tempered tuning simply because the resulting sounds were much too boring.
Composers throughout history were looking for dissonances, NOT consonances, because these are the sounds which are exciting. Today I find a tritone not exciting at all, or a minor ninth. Today we need stronger sounds, probably also connected with noise to get the spice into the music.
Anyway, thanks of course to referring to my piece! [[;)]]

Bests,
- Mathis

I wasn't saying that dissonance really equals horror of course not. I meant that ironically: Mr. Avant Garde Penderecki seemed to be making that equation himself! I find that odd, since I always thought the credo of the avant garde was "Oh, no, all that dissonance isn't ugly! It's just BEAUTIFUL! You only thnk it's ugly because you're stupid and primitive unlike us." Isn't that basically what they believe?

Anyway I agree on Ligetti - one of the few really great hog-wild modernists. Though his microtonal things are the most interesting things I've heard. It's true that he can do anything - somewhat like Picasso in sound.

I realized fairly recently that I seem to like microtonal music, and noise music of various kinds, much more than chromatic dissonant music of whatever persuasion. Perhaps this is because the chromatic music always involves a CONTRADICTION of tonailty - a conflict that is implied whether the composer wants to or not. Whereas microtonal music, or synthesized musical noises for example, do something completel different, something truly beyond tonality rather than a mere contradiction of it. This is not an intellectual statement, but something that I've actually felt emotionally as a direct reaction to such music. For example the "Lontano" of Ligetti. It creates something utterly different than serialism, because it is as if the orchestra is not playing music at all - dissonant or othewise - but instead creating a new pure sound never heard before.

William, do you know any of Scelsi's music?
I'd be interested to know what you think of it, especially e.g. "Anahit" or some of the orchestra pieces.

best,
John

Guy,

Check out Lutoslawski's 3rd Symphony. That's pretty great!

Ligeti I've never gotten into... definitely NOT his fault. It's just me. I'll check out Clocks and Clouds, though.

Scelsi's done some cool stuff, but for that sort of language I really dig Grisey -- I saw a performance of Vortex Temporum here in Vancouver that was one of the most amazing performances -- in all media -- I've ever seen.

I'm a big fan of Rihm, as well. His language is also very personal, and flirts with all sorts of traditions, but never in an obnoxious way.

Glad to see such friendly conversation!

J.

jbm, Lutoslawski would roll over in his grave if he heard himself called Penderecki's disciple!! He was rather older, aproximately a generation older, and definitely 'old school' despite his avant garde music.

But a wonderful composer, to be sure, and this notion of tonality-in-modernity is pretty interesting vis-a-vis his works.

@DG said:

Regarding the major 3rd check out the example I gave. Talk to any string quartet player about intonation and you won't get any sleep for days... [:)]
DG

The second part, true -- but your major third example doesn't seem right to me. The pure major third gives as the strongest unheard note the note two octaves below the lower note -- the root of the presumed harmonic series. Where does your tritone come from??

The tritone comes from NOT tuning the 3rd purely, but usinf equal temperament.

Had to try it out -- there is indeed a dissonant resultant, not from a major third, but from a TRIAD -- probably from the major third/fifth conflct of overtones.

BUT!!! compare the sine waves with an equal tempered third: it is much, much, much worse.

Listen to http://mysite.verizon.net/guglielmo/sine_torment.mp3

the first, sine waves at 250, 500, 750, 1000 (C) , 1250 (E), 1500 (G)

the second, sine waves at 250, 500, 750, 1000 (C) , 1260.2 (E'), 1500 (G)

!!!

([edit] John A -- I believe DG was saying the PURE major third causes the dissonance. S/He used the word 'tuned', anyway.

Interesting - starting to look like a page from Helmholtz's "Sensations of Tone" here.

I haven't heard Scelsi. BTW I would be interested in opinions on who are the best composers known for microtonal work. To me, Ligetti's stuff in this area is absolutely fascinating.

I´m not sure how much microtonal work Ligeti actually has done. Lontano and stuff is chromatic if I´m not wrong. I´m not sure it he actually ever has done microtonal work.

The German Frank Zender has done a lot of microtonal work, exploring differential tones. Recently I was very fascinated by pieces by the Austrian Georg Haas: 1. string quartett and "Einklang freier Wesen". I really liked that.

@gugliel said:

the first, sine waves at 250, 500, 750, 1000 (C) , 1250 (E), 1500 (G)

the second, sine waves at 250, 500, 750, 1000 (C) , 1260.2 (E'), 1500 (G)

I don't hear the first ones as dissonances at all - it sounds like maybe there's an overloaded signal level, but there's no beating of "out-of-tune" intervals like there is in the second example.

You can work this stuff out mathematically - sum and (especially) difference tones.

gugliel,

sorry about that... you're right, and I actually was a little concerned about the association of Lutoslawski with Penderecki when I wrote that.

I guess I was going with the general conversation, and thinking of the fact that _some_ of the techniques Lutoslaski used in the later pieces had a sound somewhat similar to certain moments in Penderecki, at least to somone not familiar with the former's work. Anyway, point well taken!

I actually came to Penderecki through Lutoslawski, as well, which has probably always effected my comparison of the two. Also, I heard Lutoslawski's later works before hearing the earlier ones. I never seem to "discover" anyone or anything in chronologic order!

J.

Mathis,

Huh? No way is that chromatic. It is played by orchestra but not chromatically in the performance I have. Also, Lux Aeterna and Atmospheres are the most famous microtonal music ever composed.

William,

Chromatic refers to the lack of modal harmony. The free use of non-tonality whilst staying true to the basic tones and semitones of ALL music (eastern music is also based on this despite what so many people tend to perport).

Evan Evans

Actually what Mathis was probably trying to say, is better translated as Chromaticism. it doesn't mean even that a minor second melodic interval even be present in the score. it simply means the free use of non-tonality and without roots in modal harmony.

Evan Evans

Bill, I only have the Lontano score at home and just had a look again and I really don´t find any accidentals other than naturals, flats and sharps.

I agree with Evan about the chromatism of eastern music. I don´t hear microtonality in there. It´s different tuning and maybe different tunings to choose from, but the thinking is still in halfsteps. When talking about microtonility, I think of quartertones and smaller, or specified deviations to generate differential or sum tones.