ET survey
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- This revision was by author xenjacob and made on 2007-09-15 19:22:28 UTC.
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A rather strange emerging genre. Some curious composers, wishing to test the [[Ivor Darreg|Darregian]] notion that each [[Equal Temperaments|equal temperament]], to a certain extent, possesses a certain quality or mood to it, endeavor to compose entire series of pieces which sample the field, often sequentially. Easley Blackwood's rather neoclassical //Microtonal Etudes// (1980-1), in EDO's 13 through 24, was one of the first such surveys. [[McLaren|Brian McLaren]]'s idiosyncratic //240 Piano Pieces// from the 90's, with 5 pieces in each tuning from 5/oct to 53/oct (excepting 12!), might be the most extensive, so much that each set of 5 pieces might be thought of as a whole. [[Warren Burt]]'s //39 Dissonant Etudes// (1992-8) (5/oct to 43/oct) all use the same type of technique to generate "dissonance." Daniel Wolf has a series of etudes from ET's 8 through 23, excepting 10, 12, and 20, written between 1994 and 2004. Jacob Barton's //Moods// and //Xenharmonic Variations on a Theme by Mozart// from 2004 progress sequentially in sections (ET's 1-13 and 12-19). Igliashon Jones is currently at work on an album of electronic pop songs in EDOs 10-23 in which the time signature matches the tuning(!), an idea from Hans Straub, who has written such works in 5- and 17-EDO. In addition to the proper surveys, many individuals have made forays into a wide range of EDOs that don't necessarily constitute suites or "thorough" surveys. Ivor Darreg, Marc Jones, Gene Ward Smith, X. J. Scott, Andrew Heathwaite, and Aaron Hunt come to mind, as well as more music by Brian McLaren and Warren Burt.
Original HTML content:
<html><head><title>ET surveys</title></head><body>A rather strange emerging genre. Some curious composers, wishing to test the <a class="wiki_link" href="/Ivor%20Darreg">Darregian</a> notion that each <a class="wiki_link" href="/Equal%20Temperaments">equal temperament</a>, to a certain extent, possesses a certain quality or mood to it, endeavor to compose entire series of pieces which sample the field, often sequentially. Easley Blackwood's rather neoclassical <em>Microtonal Etudes</em> (1980-1), in EDO's 13 through 24, was one of the first such surveys. <a class="wiki_link" href="/McLaren">Brian McLaren</a>'s idiosyncratic <em>240 Piano Pieces</em> from the 90's, with 5 pieces in each tuning from 5/oct to 53/oct (excepting 12!), might be the most extensive, so much that each set of 5 pieces might be thought of as a whole. <a class="wiki_link" href="/Warren%20Burt">Warren Burt</a>'s <em>39 Dissonant Etudes</em> (1992-8) (5/oct to 43/oct) all use the same type of technique to generate "dissonance."<br /> <br /> Daniel Wolf has a series of etudes from ET's 8 through 23, excepting 10, 12, and 20, written between 1994 and 2004. Jacob Barton's <em>Moods</em> and <em>Xenharmonic Variations on a Theme by Mozart</em> from 2004 progress sequentially in sections (ET's 1-13 and 12-19). Igliashon Jones is currently at work on an album of electronic pop songs in EDOs 10-23 in which the time signature matches the tuning(!), an idea from Hans Straub, who has written such works in 5- and 17-EDO.<br /> <br /> In addition to the proper surveys, many individuals have made forays into a wide range of EDOs that don't necessarily constitute suites or "thorough" surveys. Ivor Darreg, Marc Jones, Gene Ward Smith, X. J. Scott, Andrew Heathwaite, and Aaron Hunt come to mind, as well as more music by Brian McLaren and Warren Burt.</body></html>