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Ivor Darreg - Cassette Lectures Volumes 1-3 (MP3)

Torrent: Ivor Darreg - Cassette Lectures Volumes 1-3 (MP3)
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ABOUT THE TAPES (Volume 1)

Done in 1986 4 years before Beyond the Xenharmonic Frontier. Ivor's collection Teen runes showcases music in each of the tunings from 13 through 19 equal tones per octave Teen Tunes I starts with 13 equal and goes up through 19 equal. As Ivor remarks these tunings exhibit a striking range of *moods,' from the exotic alien sound of 13, to the relatively familiar diatonic 'mood' or "sonic fingerprint" of 19 equal. In his musical demonstrations on this tape Ivor primarily uses the Korg Polysix, a modified pre-MIDI analog synthesizer with a microprocessor that allows for up to six notes to be sounded at once. The timbres remain limited to the standard analog synth filter sounds of the 1970s. saw tooth waves, square waves, triangle waves and pulse-width-modulated square waves filtered with a standard ADSR analog tour-pole 24 dB-per-octave filter.

Although limited in timbre, the huge advantage of the Korg Polysix remains its flexibility and ease of use. Simply by turning a knob. Ivor could change the volts per octave of the Korg Polysix and retune it to Ay desired equal division of the octave within a minute or two this allowed him to move rapidly through various equal tunings and show off their similarities and differences.

Teen Tunes 2 represents a return to the same musical ground as teen tunes I, and Ivor completed that tape about a year later. One hour provides awfully little time in which to showcase all the properties of the different equal tunings from 13 through 19, so Ivor decided to produce a second tape to compare and contrast the various tunings from 13 through 19 in more depth.

In the twenties, Ivor moves on to the equal divisions of the octave between 20 and 29 tones per octave. The “mood” difference between these tunings sounds much less striking that the difference in” mood” twixt, say, 13 and 19, since in the 20s we no longer encounter any equal divisions of the octave without recognizable functional musical fifths.

Whereas the range from 13 to 19 has three different tunings without recognizable functional perfect fifths (13 equal, 16 equal and 18 equal), all the tunings from 20 to 29 have functional musically effective perfect fifths 23 equal, which sounds most exotic, nonetheless falls within the range of recognizable musically functional perfect fifths as determined by Moran and Pratt in their 1926 research paper Variability of Musical Intervals" (American Journal of Psychology, 1926). Moran and Pratt found that listeners recognized and accepted fifths as different from the 700-cents, western perfect fifth as 680 cents and 720 cents. (Multiples of 5 tones per octave up to 35 equal have fifths of size 720 cents, while multiples of 7 tones per octave up to 35 equal have fifths of size 685.4 cents.) At 678 cents, the fifths of 23 equal sound close enough to the experimentally determined range of recognize ability that function as musically effective perfect fifths though, though, like the 685.4-cent fifths of 7 or 14 or 21 or 28 equal they sound distinctly different from the conventional somewhat smoother fifths of standard Western music.

The region from 13 through 19 equal also harbors some tunings without conventional diatonic melodic modes ("diatonic" means a melodic pattern produced by the notes C D E F G A B, with the melodic pattern w w w ½ w w w ¼ where w = a whole tone of roughly 200 cents or 1/6 of an octave, and ½ = a semitone about half as wide, or roughly 100 cents or 1/12 of an octave). 15 equal and 16 equal and 17 equal don't allow this familiar diatonic melodic mode, so a composer needs to use a different melodic approach — often a gapped chromatic melodic mode with a microtone in it somewhere, or some sort of microtonal pentatonic mode, albeit different in sound from the pentatonic mode of Western music.

In the twenties, 20 and 22 and 23 equal stand out as lacking conventional diatonic melodic resources. 20 equal doesn't permit a diatonic melodic mode because the closest approach to a whole-tone in 20 equal consists of three scale-steps, or 180 cents (compared to the 200-cent whole tone of conventional Western music). Two scale-steps in 20 equal gives 120 cents, a reasonable approximation of the 100-cent semitone in familiar Western music. But 3 x 5 scale-steps + 2 x 2 scale-steps of 60 cents takes up a grand total of 19 steps, leaving one of the scale-steps in 20 equal unused. This means that in order to return to the octave, either one of the semitones in a 20 equal diatonic melodic mode must use 3 steps (but, alas, 180 cents doesn't sound anything like a conventional Western semitone) or 4 steps to approximate a whole-tone (and 240 cents also sounds nothing like a conventional Western whole-tone).

For this reason, 20 equal is not a diatonic tuning, as Easley Blackwood pointed out in his book On Recognizable Diatonic Tunings from 1985. Ivor found from trial and error hands-on experience that the most euphonious 20 equal triad close to the major triad of conventional Western music is the neutral triad with a 720 cent fifth of 12 scale-steps and a 360-cent neutral third with 6 scale-steps. The other euphonious triad in 20 equal is the 20 equal minor triad, with a 12-step perfect fifth of 720 cents and a minor third exactly the same as in 12 equal, 300 cents. By contrast, the major triad in 20 equal sounds too rough to function as a stable point of musical or acoustic rest, with a super major third of 420 cents.

As Ivor notes on Cassette 235, 21 equal sounds surprisingly familiar, even though it has no built-in diatonic melodic mode. With a step size of 57.14 cents, 21 equal's whole-tone approximation has 4 scale steps, or 228 cents. Five such whole-tones therefore leaves only one step out of the 21 equal scale — a melodic interval of 57 cents, an approximate quartertone. This yields a bizarre and non-Western melodic pattern of w w 1/4 w w w, nothing like the familiar Western diatonic mode. Because the 22 equal system has gotten a lot of attention from theorists and musicians, Ivor gives that tuning special consideration by devoting the entire side B of tape 235 to 22 equal. 22 boasts smoother thirds than we have in 12 equal, but does not allow the conventional Western diatonic melodic mode of C D E F G A B.

By contrast with 22 and 21 equal, 24 equal is simply the conventional Western tuning of 12 equal pitches offset from itself by 1124 of an octave. As a result, as Ivor notes, 24 "never set the world on fire because it offers very little in the way of genuinely new musical resources." 24 has a neutral third and a neutral sixth as well as the exotic-sounding 11/8 approximation at 550 cents, but these don't make up for the overall familiar sound of 12 equal that's baked into the 24-tone equal scale. Ivor said "Just by chopping every scale-step of 12 equal in half, you still haven't escaped the 12-tone squirrel cage. You simply have more room to run in it." Composers dealing with 24 equal face a Faustian bargain – they get to use conventional western orchestral instruments and pianos, which offers an enormous advantage… but in return they get stuck with the same overall restless “mood” of 12 equal, with its restless thirds and major and minor sevenths.

This explains Ivor's interest in Cassette 252 in the 24 note just array showcased here, rather than 24 equal. A just intonation set of 24 notes sounds entirely different from 24 equal, as Ivor shows on this tape. In fact, the tonal and melodic resources of just intonation have scarcely been explored. 24 notes represents a vast playground for just tuning ratios as radically different sounding as the 13110 or the 11/9 or the 23/16 or the 19/12 or even higher ratios of primes can easily coexist with more conventional-sounding ratios like the 3/2 and the 5/4 in just tuning of 24 notes.

One of the staples of Ivor's lecture-demonstration tapes involves the three-cornered or four-cornered comparison, where Ivor played the same melodic or harmonic figure in three or four different tunings to show the striking difference you get. Here, Ivor shows off the remarkable musical differences between 19, 22, 24 and 14 equal. 19 equal breaks the whole tone up into three parts, so as a third-tone tuning, 19 offers some exotic and beautiful melodic possibilities foreclosed in standard Western music's division the whole tone into two pads (instead of three). 22 equal qualifies as a quartertone scale, but without the familiar diatonic melodic mode available in 12 equal or in 24. Ivor shows the vivid difference between 22 and 24 equal, in large part due to the smoother thirds and sixths available in 22 equal counterbalance by 22's lack of a familiar diatonic mode C D E F G A B. The closest figure in 22 equal is a very non Western w w ¼ w w w ¼. melodic mode, which sounds more like something like Ancient Greece or middle east than anything familiar from conventional Western music.

24 equal, by contrast, offers all the familiar intervals of 12 as well as the standard seven diatonic note of Western music, CDEFGA B. 14 equal, however, has no recognizable diatonic melodic mode and it has perfect fifths of 685.4 cents, with two circles of 7 equal perfect fifths of size 685.4 cents offset one another by 1114 of an octave. The overall musical effect of 14, although surprisingly lovely an welcoming, remains very far away from the conventional-sounding melodic and harmonic possibilities 19 equal or 24 equal, as Ivor shows here.

In the late 1970s Buzz Kimball bought a PAIA synthesizer kit and built a monophonic one-note-at-a time analog synthesizer for experimentation outside the conventional 12 pitches. By inserting an extra potentiometer into the keyboard circuit, the number of volts per octave can be adjusted, allowing the synth to sound more than (or less than) 12 equal tones per octave. By changing the resistor to produce 1/2 volt per octave instead of one volt per octave, you get 6 equal tones with a standard 1-volt-per-octave voltage controlled oscillator And changing the adjustable keyboard resistor to produce 2 volts per octave instead of one gives you 24 equal tones Essentially you're tricking the synth by changing the number of volts any given number of keys produces when pressed, which works out to a different number of tones per octave on the synth keyboard (since all the other synth components are standardized to one volt per octave:.

Buzz loaned the PAIA synthesizer to Ivor in the early 1980s after Buzz got newer synthesizers like the Mirage and the DX711 Ivor used a tour-track cassette tape recorder to lay down two-part counterpoint in non-12 tunings with the PAIA synthesizer, and these tapes show the fruit of Ivor's labor Like all analog subtractive synthesizers the PAIA offers familiar saw tooth and triangle and square and pulse waveforms whose tone-color gets changed by an variable analog filter hooked up to an envelope generator.

---Notes by McLaren


ABOUT THE TAPES (Volume 2)

In dividing the whole tone, Ivor harks back to the history of microtonality in the ealy years of the 20th century. Julian Carillo and Feruccio Busoni both explored divisions of the whole-tone -- Carrillo by commissioning a series of pianos in 12 through 96 equal tones per octave, in multiples of 6, and Busoni by commissioning the construction of a special three-manual pump organ capable of playing in 18 equal tones per octave.

Busoni believed that the future of music lay in the direction charted by Debussy's impressionistic 6 tone equal pieces like Prelude a l'apre-midi d'un Faun. Instead, European avant garde composers took up serial atonality and chance music, leading to a very different musical direction.

Divisions of the whole tone remain important today, since European microtonalists even in 2014 mostly deal with divisions of the whole tone. The French spectral school of composers, for example, approximate the harmonics of analyzed timbres to the closest 1/72 of an octave, effectively converting harmonics into members of the 72 equal tuning. As Johnny Reinhardt has remarked, there are very few practitioners of true just intonation in Europe, and almost none in France.

Ivor's cassette dealing with 24 note Pythagorean covers the extension of conventional Pythagorean tuning much farther than it was taken in the middle ages. As everyone knows, conventional. Western music arose from a Pythagorean system which became common on organs throughout the late 800s and into the 1300s. (The first organ in Western Europe arrived courtesy of a gift from the Eastern Roman empire in Constantinople in the 9th century. At that time, Western Europe languished in the depths of barbarism, known dismissively as "Good only for swords and slave-girls.") Around the 13th to 14th century, reports suggest that choirs had started to "sweeten" their thirds by substituting the 8192/6561 of the 12-note Pythagorean system for the 81/64. The 8192/6561 technically qualifies as a Pythagorean diminished fourth, but at 384.3 cents it sounds nearly identical to the 386.3-cent just major third of 5/4 which is not directly available in a Pythagorean tuning ("Pythagorean tuning" means created by adding successive just 312s and bringing them back within the octave). From the middle ages up to the 15t" century, historical records show that all organs were tuned in a Pythagorean system.

By continuing to add new perfect fifths beyond a cycle of 12, new pitches outside conventional Western music become available for the adventurous composer. Ivor explores this extension of the Pythagorean system on this cassette.

On cassette 280, Ivor runs through a whirlwind of different tuning systems, giving comparisons twixt 19 and 17 (two 1/3-tone tunings with big musical differences, since 19 permits a diatonic melodic mode and 17 doesn't, while 19 bosdyd a smooth major third buy 17's major third sounds so rough it qualifies as a dissonance) and 22 and 24 (once again, very different quartertone systems -- 22 does not permit a diatonic melodic mode while 24 does though 22 features notably smoother thirds than 24). Lastly Ivor touches on 14 equal and 31 equal. 14 as Ivor used to remark, got condemned by joseph Yasser for its allegedly excessive symmetry. – so since Yasser hated 14 so much, I knew there had to be something in it!. As it turns out 14 equal has a wonderful and vividly memorable “mood” all its own, and remains one of the more worthwhile of the equal tunings to explore musically, as Ivor shows here.

At one time, during the 160s and 1970s 31 got a great deal of publicity, probably because of the Huygens-Fokker foundation the physicist Adraan Daniel Fokker set up to popularize 31 equal. Fokker funded and built a 31 equal pipe order in Amsterdam and collected a group of imaginative musicians who composed and performed music in 31 equal.

At one time, when technology made it hard to get a wide variety of different microtonal tunings, 31 achieved some notoriety as a kind of “ingua franca” of tunings. Some musicians in the 60s and 70s suggested that 31 equal would make a good compromise, and that all composers should consider switching to 31 equal and approximate tunings like 19 equal or 15 equal with a subset of the 31 pitches.

As history turned out, composers didn’t choose to converge on a single microtonal tuning. Instead the history of contemporary music shows an ever increasing internet in diversity, both stylistically and into nationally. Today with technology allowing any possible tuning and any possible timbre and any possible timing at the touch of a button, composers have pushed away from convergence on a single tuning or a single type of musical practice toward a exponentially increasing variegation of musical practices. Consequently, the older discussions from the 1970s of 31 as some sort of “ideal” microtonal tuning today have a musty flavor, akin to the outdated claims of the atonal serials of the 1950s predicting that all music worldwide would soon converge on serialist musical practice.

On cassette 299, Ivor showcases 13, 14, 15 and others using the digital timbres of the DX7II FM synthesizer. The metallic inharmonic percussive timbres possible on the DX7II fit particularly well with inherently inharmonic tunings like 11 and 13 equal.

On cassette 321, Ivor continues a discussion of Busoni’s advocacy of the 18 equal system. As Ivor points out Busoni didn’t get far with 18 equal because it has no recognizable musically functional perfect fifth. As a result, 18 has a misty vague “mood” suitable to gauzy impressionist tone-poems,but not very useful for other types of music. To get a musically recognizable fifth, you need to subdivide each step of 18 twice, going to 36 equal. That gives you a perfect of 700 cents (the same as in 12 equal) as opposed to the 666.666-cent fifth of 18. 36 equal also offers many more flavors of thirds and sixth, as well as other more exotic musical intervals. Here Ivor contrasts 36 and 18, showing their different musical resources and very different “moods” as well as comparing 18 equal with 17 and 19 – two much more euphonious equal divisions of the octave than 18. Although 18 and 17 and 19 all qualify as 1/3 – tone tuning, dividing the whole-tone of roughly 200 cents into three equal parts, 17 sounds as different from 18 or 19 as night and day. Ivor points out with these kinds of audible comparisons and contrasts that the greatest differences in musical "mood" or emotional tone colour come between small divisions of the octave like 5 equal and 6 equal, or 18 equal and 17 equal. By comparison, as Ivor continually reiterated, "These mathematical quibbles in dead silence about the alleged differences between tunings like 50 and 53 have no point. No one uses these tunings in the way the theorists said they would! People who use tunings like 53 or 72 tend to do clusters or very dissonant things. They run away with the tiny intervals and produce chromatic patterns that sound like a siren, as Julian Carillo did in Preludio a Crisobal Colon. Composers don't go to things like 96 or 72 or 50 and play Mozart in them. They do something entirely different. So the theorists have been arguing about something composers never did, and never will do. This whole question of eliminating commas is simply beside the point. The whole point of these tunings is the contrast they make with what we hear in ordinary music in 12. This is why 18 has value, because of the contrast it makes with 12, not because it might produce some better type of triad."

---Notes by McLaren from conversations with Ivor Darreg


ABOUT THE TAPES (Volume 3)

The 1953 lecture on audible communication remains a gem. Replete with information about semantics, Pncnetics inguistics, and information theory, Ivor's talk covers a dazzling range of topics in his typical conversational style. Given Ivor's skill at presenting complex concepts in a breezy refreshing way, it seems surprising that he never freelanced as a science writer. Here he tackles subjects as diverse as communication theory, general semantics, and the evolution of spoken languages in a funny and compelling way.

Cassette 225 compares tuning that at first glance seem to have little in common. However, 26 and 34 find themselves linked by a common thread- both represent multiples of lower divisions of the octave hat produce an enormous sea-change in the overall “mood” of the resulting tuning. The mood of 13 equal remains about as exotic as you can get. As Ivor constantly pointed it, “13 has a weird outer-space mood- it would work well for science fiction movies or horror films, or such a thing. 13 doesn’t sound.

Like anything else, it's completely foreign to conventional music. The intervals sound very strange. But if you take each step of 13 equal and cut it in half, then you get something very different! 26 has fifths and thirds and you can make chords with it, which you can't do at all with 13. So by going from 13 to 26, you get a complete change in mood."

The same proves true when we go from 17 equal to 34. "17 has a steely brilliance. It sounds even more restless than 12," Ivor observed. "It doesn't want to stay still. Even more than 12. 17 wants to get up and rush around. The rough thirds, you see, make 17 a very dynamic tuning. But melodically, 17 has a sparkling brilliant sound. It gets your attention. 17 sounds electrifying and aggressive melodically, because 17 is biased toward melody. Whereas 34 sounds just the opposite. 34 has smooth major thirds, which 17 lacks, so 34 once again has a very different mood from 17, even though 34 contains 17 within it.

The tape labeled "New Drone instruments 1978" offers some of the first recordings of Ivor's kosmolyra and megalyra instruments. These "hobnailed newel posts" and 'Mondrian totem poles" produce awesome deep bass (the megalyra) and scintillating cascades of jeweled harmonics (the kosmolyra) courtesy of their justly-tuned series of strings.

While the megalyra reinforces a single note with octave-tuned courses of multiple resonant strings, the kosmolyra typically sounds a series of just intervals as you strum across its strings. Ivor usually tuned the kosmolyrai to four different series of just pitches on each of its four sides, allowing a performer to sweep a steel across the strings and quickly produce sparkling chords of just intervals like 9:10:11:12:13:14:15 and 8:9:10:11:12:13:14. Ivor later used the kosmolyra to good effect by using it as a backing instrument for overdubs with over instruments like the 22 tone guitar. In those tapes, Ivor combined just intonation on the kosmolyra with xenharmonic equal tunings on his guitars for a polymicrotonal effect no other composer at the time achieved...or even contemplated.

On the last tape on this collection, Ivor offers a three-cornered comparison between 12, 19 and 22. Ivor starts off with 12 to show its built-in diatonic 7-note scale, familiar throughout Western music history as the much-storied notes C D E F G A B. Western listeners have gotten saturated since birth with this melodic pattern of 7 notes to the point where we think these 7 notes represent something built into nature, inevitable and inescapable. But as Ivor shows, 22 boasts even more harmonic resources than we have in 12 equal, yet 22 prohibits the conventional 7 diatonic notes. Instead, composers must use entirely different melodic patterns when venturing into 22 equal. In 19 equal, Ivor contrasts a 1/3-tone tuning with the 1/2-tone tuning of 12 and 1/4-tone tuning of 22. 19 once again offers unique melodic and harmonic resources, since it contains a recognizable diatonic 7-note scale with a whole-tone of 3 scale harmonic resources, since it contains a recognizable diatonic 7-note scale with a whole-tone of 3 scale steps of 63.15 cents for a total of 189.5 cents and a semitone of 2 scale-steps of 19 at 126.3 cents. This sounds slightly different from the diatonic melodic mode of conventional Western music, but not unreasonably so. However, in addition to a recognizable diatonic melodic mode, 19 equal also permits exotic 1/3-tone melodic steps and strange melodic modes quite foreign to Western music.

Ivor often commented on the fact that micro tonalists always seemed to favor either 19 or 22, but very seldom both. He remarked that this might serve as a good psychological test of personality, since in his experience one group of people with certain emotional and personal characteristics seemed attracted to 22, while another group of people of an entirely different emotional type seemed drawn to 19.

---Notes by McLaren from conversations with Ivor Darreg

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Category: Other/Tutorials
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Added: 2020-03-29 11:01:53
Language: English
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Tags: xenharmonic microtonal experimental avant-garde lecture 
Release name: Ivor Darreg - Cassette Lectures Volumes 1-3 (MP3)
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