Herman Miller: Difference between revisions

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== Progress report ==

; What was your path to discovering alternate tunings?

: I became interested in ethnic music from around the world while a student at Michigan State University. Colin McPhee's book ''Music In Bali'' was an influence, as well as other books that I can't recall by name, which introduced me to 19-ET and other equal ~~temperaments~~. Also, I saw a presentation by Owen Jorgensen demonstrating various historical tunings as well as his own unusual "Five and Seven" temperament (5-ET on the black keys, 7-ET on the white keys). Around the same time that I started listening to music from Bali, Japan, India and so on, Wendy Carlos' album ''Beauty In the Beast'' came out, featuring some familiar tunings as well as the exotic Alpha and Beta scales. Years later, I found out about Easley Blackwood's etudes in various ETs, and began to realize you can get good music even from scales that look "bad" on paper.

: I became interested in ethnic music from around the world while a student at Michigan State University. [[Colin McPhee]]'s book ''Music In Bali'' was an influence, as well as other books that I can't recall by name, which introduced me to [[19-ET]] and other [[equal temperament]]s. Also, I saw a presentation by [[Owen Jorgensen]] demonstrating various historical tunings as well as his own unusual "Five and Seven" temperament ([[5edo|5-ET]] on the black keys, [[7-ET]] on the white keys). Around the same time that I started listening to music from [[Indonesian|Bali]], Japan, [[Indian music|India]] and so on, [[Wendy Carlos]]' album ''Beauty In the Beast'' came out, featuring some familiar tunings as well as the exotic [[Carlos Alpha|Alpha]] and [[Carlos Beta|Beta]] scales. Years later, I found out about [[Easley Blackwood]]'s etudes in various ETs, and began to realize you can get good music even from scales that look "bad" on paper.

; What are your current/past/future particular interests?

: My main interest in the tuning area is regular ~~temperaments~~. One that I especially like for a number of reasons is lemba, a temperament that was first noticed in a big list of 7-limit regular temperaments on the tuning-math list. Generally I prefer the simpler temperaments like keemun or porcupine over the more complex ones like ennealimmal (but the lack of an appropriate input device might account for that preference). I've also done some music in equal temperaments as well as JI scales.

: My main interest in the tuning area is [[regular temperament]]s. One that I especially like for a number of reasons is [[lemba]], a temperament that was first noticed in a big list of [[7-limit]] regular temperaments on the tuning-math list. Generally I prefer the simpler temperaments like [[keemun]] or [[porcupine]] over the more complex ones like [[ennealimmal]] (but the lack of an appropriate input device might account for that preference). I've also done some music in equal temperaments as well as [[JI]] scales.

; What instruments or means have you had/do you have now/do you want for the making of microtonal music?

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 == Progress report ==
 ; What was your path to discovering alternate tunings?
-: I became interested in ethnic music from around the world while a student at Michigan State University. Colin McPhee's book ''Music In Bali'' was an influence, as well as other books that I can't recall by name, which introduced me to 19-ET and other equal temperaments. Also, I saw a presentation by Owen Jorgensen demonstrating various historical tunings as well as his own unusual "Five and Seven" temperament (5-ET on the black keys, 7-ET on the white keys). Around the same time that I started listening to music from Bali, Japan, India and so on, Wendy Carlos' album ''Beauty In the Beast'' came out, featuring some familiar tunings as well as the exotic Alpha and Beta scales. Years later, I found out about Easley Blackwood's etudes in various ETs, and began to realize you can get good music even from scales that look "bad" on paper.
+: I became interested in ethnic music from around the world while a student at Michigan State University. [[Colin McPhee]]'s book ''Music In Bali'' was an influence, as well as other books that I can't recall by name, which introduced me to [[19-ET]] and other [[equal temperament]]s. Also, I saw a presentation by [[Owen Jorgensen]] demonstrating various historical tunings as well as his own unusual "Five and Seven" temperament ([[5edo|5-ET]] on the black keys, [[7-ET]] on the white keys). Around the same time that I started listening to music from [[Indonesian|Bali]], Japan, [[Indian music|India]] and so on, [[Wendy Carlos]]' album ''Beauty In the Beast'' came out, featuring some familiar tunings as well as the exotic [[Carlos Alpha|Alpha]] and [[Carlos Beta|Beta]] scales. Years later, I found out about [[Easley Blackwood]]'s etudes in various ETs, and began to realize you can get good music even from scales that look "bad" on paper.
 ; What are your current/past/future particular interests?
-: My main interest in the tuning area is regular temperaments. One that I especially like for a number of reasons is lemba, a temperament that was first noticed in a big list of 7-limit regular temperaments on the tuning-math list. Generally I prefer the simpler temperaments like keemun or porcupine over the more complex ones like ennealimmal (but the lack of an appropriate input device might account for that preference). I've also done some music in equal temperaments as well as JI scales.
+: My main interest in the tuning area is [[regular temperament]]s. One that I especially like for a number of reasons is [[lemba]], a temperament that was first noticed in a big list of [[7-limit]] regular temperaments on the tuning-math list. Generally I prefer the simpler temperaments like [[keemun]] or [[porcupine]] over the more complex ones like [[ennealimmal]] (but the lack of an appropriate input device might account for that preference). I've also done some music in equal temperaments as well as [[JI]] scales.
 ; What instruments or means have you had/do you have now/do you want for the making of microtonal music?