lunar aspect

Monday, April 23, 2018

JUST WHO ARE THE PEOPLE OF ANAPHORIA? THE DNA RESULTS ARE IN AND THE RESULTS WILL SURPRISE YOU!

As an island nation of exiles and foreigners, the assumption has always been that the genetic makeup of the Anaphorian people would be as mixed as the world at large. Well, surprise surprise. We now know this not to be the case.  DNA expert Jonathon Grasse of the Panpsychic Institute who has spent the last three years taking samples of any and everyone has come up with results no one expected, especially him.  Grasse found a universal set that seemed to be present in all inhabitants. Enough suspense! Here are his results. 

Escaped Cultivar 37%
Non-glacial Erratic 29%
Bee 17%
Bore Tide 13%
Antidote of Aether 3%

The remaining 1% seemed limited to the following almost exclusively.

Bark
Gecko
Meru Aloe 
Moss of Vale
Alluvial Fan 
Fulgurite 
Igneous Rock
Redwood Tree
Galician Porcupine

It is worth noting that there is a group in the Anaphoria midwest who identify as totally Bee even though this DNA was no higher than the rest of the island. Despite this, there is, and there has been no problem with their widespread universal acceptance islandwide.

Grasse said he was humbled in how helpful everyone was with some volunteering their own time to help and in even providing transportation to some of Anaphoria's most remote locales. Asked how he happened to pick Anaphoria as a place to investigate " he said he wasn't quite sure, but thought it might be his own DNA, "Apparently I’m 41% igneous rock, 32% redwood tree, 18% Galician porcupine, and 9% midwestern United States redneck." 

Thursday, January 25, 2018

Composition for Composers #1

Composition for Composers #1
These compositions seek to address the situation where there are more worthy composers than concert space can accomodate.

Nuclear Simphony #1

for 2 to 18 composers

There are 5 movements maximum in a performance each involving following number of composers. Each movement can be performed separately

Movement A-5 composers
Movement B-2 composers
Movement C-3 composers
Movement D-2 composers
Movement E-5 composers

The following is determined ahead of time.
the instrumentation
a set tempo throughout.
the tuning or tunings

Each movement can be between 90 seconds to approx. 7 minutes.

The composition is constructed in three steps.

A. The construction of a nuclear melody.
The nuclear melody is composed with each composer adding an equal part to the melody in rotation (from 1 to 4 notes) . The goal should be to maintaining enough simplicity for subsequent lines to later be written without disrupting the flow. Multiples of a quarter note with a half note being the common unit. The melody ends when a composer chooses to end for their turn.

B. Once the nuclear melody is written each composer determines where they are going write and where they are going to rest with beginning and ending points coinciding with the nuclear melody. this information is shared between composers and composers are allowed to modify their decisions.

C. final parts are written by composers  and shared either before or in rehearsal with the inserts of further rest allowed and minor changes.

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Nuclear Simphony #2 for percussion
(two versions - pulse based or time based)

for 3 to 16 composers each writing for one percussion player.

The following is to be determined in advance:
A.The instrumentation based on available percussion instruments.
B. The number of movements (1-x) each with a set tempo or time scale

This composition is based on the idea of a nuclear melody except of rhythm. The next step is instead of having a set rhythmic point that is shared by all,  rests or silences are used instead

The composition is constructed in three steps.
A. Taking the set tempo or timescale, each composer in rotation composes points or spans of rest in which will remain silent during the piece. If a pulse is present, A rest should be at least one beat long. A composer chooses the ending of the piece instead of inserting further rest. 

B. Each composer composes their own section incorporating these areas of rest.

C. upon comparison before or during rehearsal slight modifications of each part is possible.
————————————————————————————————————
New party pieces
For any number of composers
starting at the end each composer composes a bar of music plus 2 notes of the preceding measure. and exquisite corpse in reverse.
————————————————————————————————————————
The Curved Space of Tetrachords
for any number of composers
(two possible versions)
live version:
instrumentation is determined beforehand.
each composer picks a tetrachord in a specific range and composes up to 20 seconds of music using it solely. volume is determined by the duration with ………..
each composer chooses the duration of rest following it up to 30 seconds afterwards. Pieces are played back in random order.


electronic version:
Each composer picks a tetrachord in a specific range and composes and records it





Wednesday, August 23, 2017

The Term Microtonality: Strict or Loose interpretation.

I try to avoid the word Microtonality like the plague. I never mention it on releases except for one time i included one sentence for which I was called out for by one critic (sic?).
If though we are going to tolerate the term , which encompasses more and more each day, perhaps it might be good to draw the line in the sand somewhere.
As a start and to get to the point:

 It should be intentional. For instance, accidental deviations from say, the standard scale need not apply. A lack of directionality might also be in keeping here, say not the result of a random choice of objects or even a process. A scale though determined by ear should be included as a valid method even if no math is involved.

 It should be a feature in the approach to the music. If not then perhaps we might start calling the miked acoustic guitar of a folk singer, electronic music. Technically it is, but also trivially too. Basically if it can removed without changing the character and expression of the music, we might be better to refer to the music what features the music is actually using.

In terms of other cultures, for the time being, it seems ok to refer to any intonational practice outside one's own as microtonal. In turn those in those culture should in turn be allowed to return the favor. In the long run, it might be better to limit it to being outside the cultures at hand, assuming an uncentered norm, even if the practice seems limited to one cultural practice at the moment.

For myself , I am going to use my own term Mesotonal explained back here



Monday, August 21, 2017

Monday, May 22, 2017

Book recommendations on Microtonality

This blog post is basically a handy list of written resources for those interested in Just intonation and microtonality starting from the simplest to the more specialized and detailed. We suggest owning hard copies as all serve as important references.


The Just intonation Primer by David B. Doty
http://www.dbdoty.com/Words/Primer1.html

On The Sensations of Tone. Hermann Helmholtz
http://store.doverpublications.com/0486607534.html
   
Genesis of a Music by Harry Partch
https://monoskop.org/images/b/be/Partch_Harry_Genesis_of_a_Music_2nd_ed.pdf

Divisions of the Tetrachord by John Chalmers
http://eamusic.dartmouth.edu/~larry/published_articles/divisions_of_the_tetrachord/

Microtonality and the Tuning Systems of Erv Wilson by Terumi Narushima (available in Octotober 2017)
https://www.routledge.com/Microtonality-and-the-Tuning-Systems-of-Erv-Wilson/Narushima/p/book/9781138857568

Musical Mathematics by Cris Forster
https://www.amazon.com/Musical-Mathematics-Science-Acoustic-Instruments/dp/0811874079

Harmonic Experience by W. A. Mathieu
https://www.amazon.com/Harmonic-Experience-Harmony-Natural-Expression/dp/0892815604

'Temperament' and 'Temperament; or the Divisions of the Octave' R.H.M. Bosanquet
 http://anaphoria.com/library.html

Greek Musical Writings: Volume II, Harmonic and Acoustic Theory. Edited by Andrew Barker.
https://www.amazon.co.uk/Greek-Musical-Writings-Cambridge-Literature/dp/0521616972

Multiple Division of the Octave and the Tonal Resources of 19-Tone Temperament. Mayer Joel Mandelbaum. Thesis
http://anaphoria.com/mandelbaumthesis.pdf

The Greek Aulos by Kathleen Schlesinger
https://archive.org/details/KathleenSchlesingerTheGreekAulos

Augusto Novaro Musica Natural and approximation (Two editions) 1927-29 and 1951
http://anaphoria.com/novaro.html

Bach and Tuning. Johnny Reinhard 2016.
https://www.amazon.com/Quellen-Studien-Musikgeschichte-Gegenwart-Antiquity/dp/3631672055?fbclid=IwAR3yAvoq3AzNXlG8zVEto7fjXDm-Yb-BPPp29VpCLjHQcsHdvZrnIbiIOTo

Harmonics and Spirals. Neil Haverstick. 2016 https://microstick.net/product/harmonics-spirals/


A Theory of Evolving Tonality- Yasser

I will be updating this as i am sure i am forgetting many

Monday, March 28, 2016

Diamonds, Lambdomas, and Mt. Meru: The Return of Sacred Objects to a Secular Landscape.

Wilson's Chart of the Mt. Meru/Lambdoma interface

Today, as never before,
we are witnessing an opposition
 not between art and life,
 but between sacral and secular spaces.
-Ilya Kabakov

In the process of my wife, Terumi Narushima working on her book on Erv Wilson's Tuning innovations, the subject of the Partch's Diamond and its origin have come up. What strikes myself is that how this structure seems to have been reawakened in not only Harry’s vision even if through Mayer, but the others to as close relatives. Spontaneously they appear in others such as Novaro (in the same year as Partch, 1927), but also Schlesinger too once one scratches the surface of her subharmonic scales sharing a common tone.  That all this rediscoverering would happen within a few brief years after 2000 years is uncanny and could be seen almost as if the structure had a life of its own. In its former context it was used to please the gods or to represent the celestial clockwork or even as a reflection of political structure.  This Lambdoma returns, but not in the context of an object to be worshipped, but as a something that nevertheless is once again in communication with our secular world. It is within this contact and communication that Partch deserves credit for placing his work and vision. His rituals do not worship these objects, but nevertheless places them within the conversation throughout his own aesthetic objects.

           Erv Wilson firmly explored many of the geometrical properties of various organisations and while publicly he would not attribute anything extraordinary about them, he would always point them out when he ran across them. One of the most common mathematical figures he would return to,  or maybe uncannily repeatedly returned to him was Pascal's triangle which was known in  India where it was discovered 1000 years before Pascal it was known as Meru Prastara.
  1. Mount Meru, the abode of the gods at the center of the universe in HinduJain, and Buddhist traditions
 His first notice of it was in its relationship with his combination product sets. Later he appears to be the first to investigate the additions of the diagonals of Mt. Meru beyond the one known to produce the Fibonacci series. Here he found scales that reflected the practices of various indigenous music that some now found a way to appear in their own rituals.

Wilson's scale tree within the tetrachord showing
 both the super-particular ratios between the notes as well as the two sums of the diagonals.



Later I was fortunate enough to catch and point out to Wilson that Novaro’s series coincided with a reseeded triangle. From this he saw how Mt. Meru was tied to both the Lambdoma and the Farey series. The latter is imbedded in his scale tree, his reinvention of the Stern-Brocot tree. All this represented in the chart shown.

This series starts with the numbers 0/1 and 1/0 from which he described as possibly divine numbers but would not say or define further. One might wonder like myself if they are the infinitely small and large respectfully.  Then is the 1/1 like the "mesocosm" between these infinities. Hence why I have preferred to call my music Mesotonal.

Our relationship though is not in worshipping these structures even though they are probably worthy. They indeed act as forces often universal and beyond our control, even more so to surpass. Attempts to play these megastructures have proven less satisfactory than the material that rest upon them. Thus here they communicate and inform us at a distance  and there is good reason to listen.