19edo: Difference between revisions
Wikispaces>genewardsmith **Imported revision 216541228 - Original comment: ** |
Wikispaces>vaisvil **Imported revision 229424150 - Original comment: ** |
||
| Line 1: | Line 1: | ||
<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User: | : This revision was by author [[User:vaisvil|vaisvil]] and made on <tt>2011-05-17 20:30:46 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>229424150</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
<h4>Original Wikitext content:</h4> | <h4>Original Wikitext content:</h4> | ||
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">[[toc|flat]] | <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">[[media type="custom" key="9458830"]][[toc|flat]] | ||
---- | ---- | ||
=Theory= | =Theory= | ||
| Line 50: | Line 50: | ||
* [[http://sonic-arts.org/darreg/case.htm|A Case For Nineteen]] by [[Ivor Darreg]] [[http://www.webcitation.org/5xZzBtDGF|Permalink]] | * [[http://sonic-arts.org/darreg/case.htm|A Case For Nineteen]] by [[Ivor Darreg]] [[http://www.webcitation.org/5xZzBtDGF|Permalink]] | ||
* [[http://qcpages.qc.edu/ | * [[http://qcpages.qc.edu/%7Ehowe/articles/19-Tone%20Theory.html|19-Tone Theory and Applications]] by Hubert S. Howe Jr. [[http://www.webcitation.org/5xbMKVaqa|Permalink]] | ||
* [[http://sethares.engr.wisc.edu/tet19/guitarchords19.html|Tunings for 19 Tone Equal Tempered Guitar]] by William A. Sethares [[http://www.webcitation.org/5xeCbEPZ0|Permalink]] | * [[http://sethares.engr.wisc.edu/tet19/guitarchords19.html|Tunings for 19 Tone Equal Tempered Guitar]] by William A. Sethares [[http://www.webcitation.org/5xeCbEPZ0|Permalink]] | ||
* [[http://www.n-ism.org/Projects/microtonalism.php|Microtonalism]] by Bailey, Morrison, Pearson and Parncutt [[http://www.webcitation.org/5xeDFQDvn|Permalink]] | * [[http://www.n-ism.org/Projects/microtonalism.php|Microtonalism]] by Bailey, Morrison, Pearson and Parncutt [[http://www.webcitation.org/5xeDFQDvn|Permalink]] | ||
| Line 62: | Line 62: | ||
Levy, Kenneth J., //Costeley's Chromatic Chanson//, Annales Musicologues: | Levy, Kenneth J., //Costeley's Chromatic Chanson//, Annales Musicologues: | ||
Moyen-Age et Renaissance, Tome III (1955), pp. 213-261. | Moyen-Age et Renaissance, Tome III (1955), pp. 213-261. | ||
19 note per octave Ibanez conversion by Brad Smith (Indianapolis) | |||
[[image:http://chrisvaisvil.com/wp-content/uploads/2011/04/Media-Card_BlackBerry_pictures_IMG00145-1024x768.jpg width="800" height="600"]] | |||
---- | ---- | ||
| Line 69: | Line 71: | ||
[[http://music.columbia.edu/%7Echris/sand.html|Sand]] by Christopher Bailey | [[http://music.columbia.edu/%7Echris/sand.html|Sand]] by Christopher Bailey | ||
[[http://works.music.columbia.edu/%7Echris/19mix1.mp3|Walking Down the Hillside at Cortona, and Seeing its Towers Rise Before Me]] by Christopher Bailey | [[http://works.music.columbia.edu/%7Echris/19mix1.mp3|Walking Down the Hillside at Cortona, and Seeing its Towers Rise Before Me]] by Christopher Bailey | ||
[[http://www.emcollective.org/chris/items/ditty/ditty_fast.mp3|Ditty]] | [[http://www.emcollective.org/chris/items/ditty/ditty_fast.mp3|Ditty]] by Christopher Bailey | ||
[[http://eceserv0.ece.wisc.edu/%7Esethares/mp3s/sympathetic.html|Sympathetic metaphor]] by William Sethares | [[http://eceserv0.ece.wisc.edu/%7Esethares/mp3s/sympathetic.html|Sympathetic metaphor]] by William Sethares | ||
[[http://eceserv0.ece.wisc.edu/%7Esethares/mp3s/truthonabus.html|Truth on a bus]] by William Sethares | [[http://eceserv0.ece.wisc.edu/%7Esethares/mp3s/truthonabus.html|Truth on a bus]] by William Sethares | ||
| Line 77: | Line 79: | ||
Fanfare in 19-note Equal Tuning by Easley Blackwood | Fanfare in 19-note Equal Tuning by Easley Blackwood | ||
[[http://www.uvnitr.cz/flaoyg/flao_yg/zvire.html|Zvíře]] by Milan Guštar | [[http://www.uvnitr.cz/flaoyg/flao_yg/zvire.html|Zvíře]] by Milan Guštar | ||
[[http://www.ziaspace.com/ZIA/sections/music.html|19tet downloadable mp3s by ZIA, Elaine Walker and D.D.T.]]</pre></div> | [[http://www.ziaspace.com/ZIA/sections/music.html|19tet downloadable mp3s by ZIA, Elaine Walker and D.D.T.]] | ||
[[@http://chrisvaisvil.com/?p=865|Forgetting Even Her Beauty blog]] [[http://micro.soonlabel.com/19-ET/daily20110516-19-forgetting_even_her_beauty.mp3|play]] by Chris Vaisvil | |||
[[@http://chrisvaisvil.com/?p=855|19 Black Hawks for Osama blog]] [[http://www.youtube.com/watch?v=gGO0R381HQs|play video]] by Chris Vaisvil | |||
[[@http://chrisvaisvil.com/?p=823|Summer Song blog]] [[http://micro.soonlabel.com/19-ET/daily20110501-19-summer_song_mix3.mp3|play]] by Trevor (The TwoRegs) and Norm Harris and Chris Vaisvil | |||
[[@http://chrisvaisvil.com/?p=820|19 ImprovFridays blog]] [[http://www.youtube.com/watch?v=-KaRXFoYwT4|play video of performance]] by Chris Vaisvil</pre></div> | |||
<h4>Original HTML content:</h4> | <h4>Original HTML content:</h4> | ||
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>19edo</title></head><body><!-- ws:start:WikiTextTocRule: | <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>19edo</title></head><body><!-- ws:start:WikiTextMediaRule:0:&lt;img src=&quot;http://www.wikispaces.com/site/embedthumbnail/custom/9458830?h=0&amp;w=0&quot; class=&quot;WikiMedia WikiMediaCustom&quot; id=&quot;wikitext@@media@@type=&amp;quot;custom&amp;quot; key=&amp;quot;9458830&amp;quot;&quot; title=&quot;Custom Media&quot;/&gt; --><script type="text/javascript" src="http://webplayer.yahooapis.com/player.js"> | ||
<!-- ws:end:WikiTextTocRule: | </script><!-- ws:end:WikiTextMediaRule:0 --><!-- ws:start:WikiTextTocRule:13:&lt;img id=&quot;wikitext@@toc@@flat&quot; class=&quot;WikiMedia WikiMediaTocFlat&quot; title=&quot;Table of Contents&quot; src=&quot;/site/embedthumbnail/toc/flat?w=100&amp;h=16&quot;/&gt; --><!-- ws:end:WikiTextTocRule:13 --><!-- ws:start:WikiTextTocRule:14: --><a href="#Theory">Theory</a><!-- ws:end:WikiTextTocRule:14 --><!-- ws:start:WikiTextTocRule:15: --><!-- ws:end:WikiTextTocRule:15 --><!-- ws:start:WikiTextTocRule:16: --><!-- ws:end:WikiTextTocRule:16 --><!-- ws:start:WikiTextTocRule:17: --><!-- ws:end:WikiTextTocRule:17 --><!-- ws:start:WikiTextTocRule:18: --><!-- ws:end:WikiTextTocRule:18 --><!-- ws:start:WikiTextTocRule:19: --> | <a href="#Compositions">Compositions</a><!-- ws:end:WikiTextTocRule:19 --><!-- ws:start:WikiTextTocRule:20: --> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:end:WikiTextTocRule:20 --><br /> | ||
<hr /> | |||
<!-- ws:start:WikiTextHeadingRule:1:&lt;h1&gt; --><h1 id="toc0"><a name="Theory"></a><!-- ws:end:WikiTextHeadingRule:1 -->Theory</h1> | |||
<br /> | <br /> | ||
In music, <strong>19 equal temperament</strong>, called 19-TET, 19-<a class="wiki_link" href="/EDO">EDO</a>, or 19-ET, is the scale derived by dividing the <a class="wiki_link" href="/octave">octave</a> into 19 <a class="wiki_link" href="/equal">equal</a>ly large steps. Each step represents a frequency ratio of the 19th root of 2, or 63.16 <a class="wiki_link" href="/cent">cent</a>s.<br /> | In music, <strong>19 equal temperament</strong>, called 19-TET, 19-<a class="wiki_link" href="/EDO">EDO</a>, or 19-ET, is the scale derived by dividing the <a class="wiki_link" href="/octave">octave</a> into 19 <a class="wiki_link" href="/equal">equal</a>ly large steps. Each step represents a frequency ratio of the 19th root of 2, or 63.16 <a class="wiki_link" href="/cent">cent</a>s.<br /> | ||
| Line 87: | Line 95: | ||
Interest in this tuning system goes back to the sixteenth century, when composer Guillaume Costeley used it in his chanson <em>Seigneur Dieu ta pitié</em> of 1558. Costeley understood and desired the circulating aspect of this tuning; in 1577 music theorist Francisco de Salinas in effect proposed it. Salinas discussed 1/3-comma meantone, in which the fifth is of size 694.786 cents; the fifth of 19-et is 694.737, which is only a twentieth of a cent flatter. Salinas suggested tuning nineteen tones to the octave to this tuning, which fails to close by less than a cent, so that his suggestion is effectively 19-et. In the nineteenth century mathematician and music theorist Wesley Woolhouse proposed it as a more practical alternative to meantone tunings he regarded as better, such as <a class="wiki_link" href="/50edo">50 equal temperament</a> (<a class="wiki_link_ext" href="http://sonic-arts.org/monzo/woolhouse/essay.htm" rel="nofollow">summary of Woolhouse's essay</a>).<br /> | Interest in this tuning system goes back to the sixteenth century, when composer Guillaume Costeley used it in his chanson <em>Seigneur Dieu ta pitié</em> of 1558. Costeley understood and desired the circulating aspect of this tuning; in 1577 music theorist Francisco de Salinas in effect proposed it. Salinas discussed 1/3-comma meantone, in which the fifth is of size 694.786 cents; the fifth of 19-et is 694.737, which is only a twentieth of a cent flatter. Salinas suggested tuning nineteen tones to the octave to this tuning, which fails to close by less than a cent, so that his suggestion is effectively 19-et. In the nineteenth century mathematician and music theorist Wesley Woolhouse proposed it as a more practical alternative to meantone tunings he regarded as better, such as <a class="wiki_link" href="/50edo">50 equal temperament</a> (<a class="wiki_link_ext" href="http://sonic-arts.org/monzo/woolhouse/essay.htm" rel="nofollow">summary of Woolhouse's essay</a>).<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:3:&lt;h2&gt; --><h2 id="toc1"><a name="Theory-As an approximation of other temperaments"></a><!-- ws:end:WikiTextHeadingRule:3 -->As an approximation of other temperaments</h2> | ||
<br /> | <br /> | ||
The most salient characteristic of 19-et is that, having an almost just minor third and perfect fifths and major thirds about seven cents narrow, it serves as a good tuning for <a class="wiki_link" href="/Regular%20Temperaments#meantone">meantone</a> temperament. It is also a suitable for <a class="wiki_link" href="/Regular%20Temperaments#magic">magic</a> temperament, because five of its major thirds are equivalent to one of its <em>twelfths</em>.<br /> | The most salient characteristic of 19-et is that, having an almost just minor third and perfect fifths and major thirds about seven cents narrow, it serves as a good tuning for <a class="wiki_link" href="/Regular%20Temperaments#meantone">meantone</a> temperament. It is also a suitable for <a class="wiki_link" href="/Regular%20Temperaments#magic">magic</a> temperament, because five of its major thirds are equivalent to one of its <em>twelfths</em>.<br /> | ||
| Line 93: | Line 101: | ||
For both of these there are more optimal tunings, however. The generating interval for meantone is a fifth, and the fifth of 19-et is flatter than the usual for meantone; a more accurate approximation is <a class="wiki_link" href="/31edo">31 equal temperament</a>. Similarly, the generating interval of magic temperament is a major third, and again 19-et's is flatter; <a class="wiki_link" href="/41edo">41 equal temperament</a> more closely matches it.<br /> | For both of these there are more optimal tunings, however. The generating interval for meantone is a fifth, and the fifth of 19-et is flatter than the usual for meantone; a more accurate approximation is <a class="wiki_link" href="/31edo">31 equal temperament</a>. Similarly, the generating interval of magic temperament is a major third, and again 19-et's is flatter; <a class="wiki_link" href="/41edo">41 equal temperament</a> more closely matches it.<br /> | ||
<br /> | <br /> | ||
However, for all of these 19-et has the practical advantage of requiring fewer pitches, which makes physical realizations of it easier to build. (Many 19-et instruments have been built.) 19-et is in fact the second equal temperament, after 12-et which is able to deal with <a class="wiki_link" href="/Harmonic%20Limit">5-limit</a> music in a tolerable manner, and is the fifth (after 12) Zeta function integral tuning, <!-- ws:start:WikiTextUrlRule: | However, for all of these 19-et has the practical advantage of requiring fewer pitches, which makes physical realizations of it easier to build. (Many 19-et instruments have been built.) 19-et is in fact the second equal temperament, after 12-et which is able to deal with <a class="wiki_link" href="/Harmonic%20Limit">5-limit</a> music in a tolerable manner, and is the fifth (after 12) Zeta function integral tuning, <!-- ws:start:WikiTextUrlRule:350:http://www.research.att.com/~njas/sequences/A117538 --><a class="wiki_link_ext" href="http://www.research.att.com/~njas/sequences/A117538" rel="nofollow">http://www.research.att.com/~njas/sequences/A117538</a><!-- ws:end:WikiTextUrlRule:350 -->. It is less successful with <a class="wiki_link" href="/7-limit">7-limit</a> (but still better than 12-et), as it eliminates the distinction between a septimal minor third (<a class="wiki_link" href="/7_6">7/6</a>), and a septimal whole tone (<a class="wiki_link" href="/8_7">8/7</a>).<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:5:&lt;h2&gt; --><h2 id="toc2"><a name="Theory-Intervals"></a><!-- ws:end:WikiTextHeadingRule:5 -->Intervals</h2> | ||
<br /> | <br /> | ||
| Line 265: | Line 273: | ||
<br /> | <br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:7:&lt;h2&gt; --><h2 id="toc3"><a name="Theory-Articles"></a><!-- ws:end:WikiTextHeadingRule:7 -->Articles</h2> | ||
<br /> | <br /> | ||
<ul><li><a class="wiki_link_ext" href="http://sonic-arts.org/darreg/case.htm" rel="nofollow">A Case For Nineteen</a> by <a class="wiki_link" href="/Ivor%20Darreg">Ivor Darreg</a> <a class="wiki_link_ext" href="http://www.webcitation.org/5xZzBtDGF" rel="nofollow">Permalink</a></li><li><a class="wiki_link_ext" href="http://qcpages.qc.edu/ | <ul><li><a class="wiki_link_ext" href="http://sonic-arts.org/darreg/case.htm" rel="nofollow">A Case For Nineteen</a> by <a class="wiki_link" href="/Ivor%20Darreg">Ivor Darreg</a> <a class="wiki_link_ext" href="http://www.webcitation.org/5xZzBtDGF" rel="nofollow">Permalink</a></li><li><a class="wiki_link_ext" href="http://qcpages.qc.edu/%7Ehowe/articles/19-Tone%20Theory.html" rel="nofollow">19-Tone Theory and Applications</a> by Hubert S. Howe Jr. <a class="wiki_link_ext" href="http://www.webcitation.org/5xbMKVaqa" rel="nofollow">Permalink</a></li><li><a class="wiki_link_ext" href="http://sethares.engr.wisc.edu/tet19/guitarchords19.html" rel="nofollow">Tunings for 19 Tone Equal Tempered Guitar</a> by William A. Sethares <a class="wiki_link_ext" href="http://www.webcitation.org/5xeCbEPZ0" rel="nofollow">Permalink</a></li><li><a class="wiki_link_ext" href="http://www.n-ism.org/Projects/microtonalism.php" rel="nofollow">Microtonalism</a> by Bailey, Morrison, Pearson and Parncutt <a class="wiki_link_ext" href="http://www.webcitation.org/5xeDFQDvn" rel="nofollow">Permalink</a></li><li><a class="wiki_link_ext" href="http://tonalsoft.com/enc/number/19edo.aspx" rel="nofollow">19-tone equal-temperament and 1/3-comma meantone - Encyclopedia of Microtonal Music Theory</a> <a class="wiki_link_ext" href="http://tonalsoft.com/enc/number/19edo.aspx" rel="nofollow">Permalink</a></li><li><a class="wiki_link_ext" href="http://mtg.redkeylabs.com/index.php?topic=6.0" rel="nofollow">Forum Discussion with some 19-EDO xenharmonic scales Hanson (Keemun), Liese, Negri, Magic, Semaphore, Sensi played on guitar</a>.</li><li><a class="wiki_link_ext" href="http://www.ronsword.com/books.html" rel="nofollow">Enneadecaphonic Scales for Guitar</a> by Ron Sword</li></ul><br /> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:9:&lt;h2&gt; --><h2 id="toc4"><a name="Theory-References"></a><!-- ws:end:WikiTextHeadingRule:9 -->References</h2> | ||
<br /> | <br /> | ||
Bucht, Saku and Huovinen, Erkki, <em>Perceived consonance of harmonic intervals in 19-tone equal temperament</em>, CIM04_proceedings.<br /> | Bucht, Saku and Huovinen, Erkki, <em>Perceived consonance of harmonic intervals in 19-tone equal temperament</em>, CIM04_proceedings.<br /> | ||
Levy, Kenneth J., <em>Costeley's Chromatic Chanson</em>, Annales Musicologues:<br /> | Levy, Kenneth J., <em>Costeley's Chromatic Chanson</em>, Annales Musicologues:<br /> | ||
Moyen-Age et Renaissance, Tome III (1955), pp. 213-261.<br /> | Moyen-Age et Renaissance, Tome III (1955), pp. 213-261.<br /> | ||
19 note per octave Ibanez conversion by Brad Smith (Indianapolis)<br /> | |||
<!-- ws:start:WikiTextRemoteImageRule:201:&lt;img src=&quot;http://chrisvaisvil.com/wp-content/uploads/2011/04/Media-Card_BlackBerry_pictures_IMG00145-1024x768.jpg&quot; alt=&quot;&quot; title=&quot;&quot; style=&quot;height: 600px; width: 800px;&quot; /&gt; --><img src="http://chrisvaisvil.com/wp-content/uploads/2011/04/Media-Card_BlackBerry_pictures_IMG00145-1024x768.jpg" alt="external image Media-Card_BlackBerry_pictures_IMG00145-1024x768.jpg" title="external image Media-Card_BlackBerry_pictures_IMG00145-1024x768.jpg" style="height: 600px; width: 800px;" /><!-- ws:end:WikiTextRemoteImageRule:201 --><br /> | |||
<br /> | <br /> | ||
<hr /> | <hr /> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:11:&lt;h1&gt; --><h1 id="toc5"><a name="Compositions"></a><!-- ws:end:WikiTextHeadingRule:11 -->Compositions</h1> | ||
<br /> | <br /> | ||
<a class="wiki_link_ext" href="http://www.akjmusic.com/audio/juggler.mp3" rel="nofollow">The Juggler</a> by Aaron Krister Johnson<br /> | <a class="wiki_link_ext" href="http://www.akjmusic.com/audio/juggler.mp3" rel="nofollow">The Juggler</a> by Aaron Krister Johnson<br /> | ||
<a class="wiki_link_ext" href="http://music.columbia.edu/%7Echris/sand.html" rel="nofollow">Sand</a> by Christopher Bailey<br /> | <a class="wiki_link_ext" href="http://music.columbia.edu/%7Echris/sand.html" rel="nofollow">Sand</a> by Christopher Bailey<br /> | ||
<a class="wiki_link_ext" href="http://works.music.columbia.edu/%7Echris/19mix1.mp3" rel="nofollow">Walking Down the Hillside at Cortona, and Seeing its Towers Rise Before Me</a> by Christopher Bailey<br /> | <a class="wiki_link_ext" href="http://works.music.columbia.edu/%7Echris/19mix1.mp3" rel="nofollow">Walking Down the Hillside at Cortona, and Seeing its Towers Rise Before Me</a> by Christopher Bailey<br /> | ||
<a class="wiki_link_ext" href="http://www.emcollective.org/chris/items/ditty/ditty_fast.mp3" rel="nofollow">Ditty</a> | <a class="wiki_link_ext" href="http://www.emcollective.org/chris/items/ditty/ditty_fast.mp3" rel="nofollow">Ditty</a> by Christopher Bailey<br /> | ||
<a class="wiki_link_ext" href="http://eceserv0.ece.wisc.edu/%7Esethares/mp3s/sympathetic.html" rel="nofollow">Sympathetic metaphor</a> by William Sethares<br /> | <a class="wiki_link_ext" href="http://eceserv0.ece.wisc.edu/%7Esethares/mp3s/sympathetic.html" rel="nofollow">Sympathetic metaphor</a> by William Sethares<br /> | ||
<a class="wiki_link_ext" href="http://eceserv0.ece.wisc.edu/%7Esethares/mp3s/truthonabus.html" rel="nofollow">Truth on a bus</a> by William Sethares<br /> | <a class="wiki_link_ext" href="http://eceserv0.ece.wisc.edu/%7Esethares/mp3s/truthonabus.html" rel="nofollow">Truth on a bus</a> by William Sethares<br /> | ||
| Line 288: | Line 298: | ||
Fanfare in 19-note Equal Tuning by Easley Blackwood<br /> | Fanfare in 19-note Equal Tuning by Easley Blackwood<br /> | ||
<a class="wiki_link_ext" href="http://www.uvnitr.cz/flaoyg/flao_yg/zvire.html" rel="nofollow">Zvíře</a> by Milan Guštar<br /> | <a class="wiki_link_ext" href="http://www.uvnitr.cz/flaoyg/flao_yg/zvire.html" rel="nofollow">Zvíře</a> by Milan Guštar<br /> | ||
<a class="wiki_link_ext" href="http://www.ziaspace.com/ZIA/sections/music.html" rel="nofollow">19tet downloadable mp3s by ZIA, Elaine Walker and D.D.T.</a></body></html></pre></div> | <a class="wiki_link_ext" href="http://www.ziaspace.com/ZIA/sections/music.html" rel="nofollow">19tet downloadable mp3s by ZIA, Elaine Walker and D.D.T.</a><br /> | ||
<a class="wiki_link_ext" href="http://chrisvaisvil.com/?p=865" rel="nofollow" target="_blank">Forgetting Even Her Beauty blog</a> <a class="wiki_link_ext" href="http://micro.soonlabel.com/19-ET/daily20110516-19-forgetting_even_her_beauty.mp3" rel="nofollow">play</a> by Chris Vaisvil<br /> | |||
<a class="wiki_link_ext" href="http://chrisvaisvil.com/?p=855" rel="nofollow" target="_blank">19 Black Hawks for Osama blog</a> <a class="wiki_link_ext" href="http://www.youtube.com/watch?v=gGO0R381HQs" rel="nofollow">play video</a> by Chris Vaisvil<br /> | |||
<a class="wiki_link_ext" href="http://chrisvaisvil.com/?p=823" rel="nofollow" target="_blank">Summer Song blog</a> <a class="wiki_link_ext" href="http://micro.soonlabel.com/19-ET/daily20110501-19-summer_song_mix3.mp3" rel="nofollow">play</a> by Trevor (The TwoRegs) and Norm Harris and Chris Vaisvil<br /> | |||
<a class="wiki_link_ext" href="http://chrisvaisvil.com/?p=820" rel="nofollow" target="_blank">19 ImprovFridays blog</a> <a class="wiki_link_ext" href="http://www.youtube.com/watch?v=-KaRXFoYwT4" rel="nofollow">play video of performance</a> by Chris Vaisvil</body></html></pre></div> | |||