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[page 16] JOHN CHALMERS BIOLOGY DEPT. UNIVERSITY OF CALIF. SAN DIEGO, LA J LLA, CALIF. 92037 I WAS PARTICULARLY INTRIGUED BY THE VARIOUS SUGGESTIONS IN _ENTM00T 3_ FOR THE MUSICAL SETTINGS OF THE MIDDLE EARTH POETRY. I WOULD LIKE TO SUGGEST THAT INSTEAD OF APPLYING EITHER FOLK IDIOMS OR MEDIEVAL MODES, ONE TRY THE ANCIENT HARMONIAI, AS DESCRIBED BY KATHLEEN SCHLESSINGER IN HER OPUS, _THE GREEK AULOS_. THE SCALES DESCRIBED THERE IN ARE DEDUCED FROM MEASUREMENTS ON WIND INSTRUMENTS, CHIEFLY ANCIENT GREEK BUT ALSO INCLUDING MANY FOLK INSTRUMENTS FROM PLACES AS DIVERSE AS CENTRAL EUROPE AND THE ANDES, BY WAY OF JAVA. BRIEFLY, THIS IS A SERIES OF SCALES, OR MODES, IN THREE GENERA, DIATONIC, CHROMATIC, AND ENHARMONIC, DESERVED BY THE ALIQUOT DIVISION OF A SOUNDING AIR COLUMN OR A STRING. THIS PROCESS RESULTS IN A SERIES OF TONES FORMING A SUBHARMONIC SERIES, BUT IS FREE OF THE RIGID TETRACHORDAL STRUCTURE OF CLASSICAL GREEK, ANO MODERN MODES. THE MUSIC EFFECT CAN BE QUITE POWERFUL, REGARDLESS OF THE CONTROVERSY SURROUNDING "UNDERTONES". I RECOMMEND EXAMINATION OF THIS MUSICAL SYSTEM FOR SEVERAL REASONS OTHER THAN ITS INTRINSIC MUSICALITY. ONE IS THAT CERTAIN PHENOMENA IN EVEN EUROPEAN FOLK MUSIC CAN BE INTERPRETED IN TERMS OF THE HARMONIAL, THOUGH THE CONSCIOUS USE OF THEM HAS CEASED IN ART MUSIC FROM THE TIME OF ARIXTOXENUS IN THE WEST, AS WE NEW @NOW@? TERM IT. IN NON-EUROPEAN CULTURES, SUCH AS PERU, THE SYSTEM STILL LIVES. A SECOND REASON IS THAT THE SYSTEM IS OF GREAT AGE, COMING DOWN FROM THE DISTANT PAST, NOT ONLY FROM THE PERIOD OF THE EARLY GREEKS WHO BASED THEIR NOTATION ON IT, BUT FROM THE FIRST PLAYERS OF PIPES. THIRDLY, THE SYSTEM HAS AS MUCH NATURALNESS TO IT AS ANY--BEING CREATED BY THOSE MAKERS OF INSTRUMENTS WHO BORED THEIR HOLES AT EQUAL INTERVALS, OR WHO STOPPED STRINGS AT EQUAL DISTANCES. HENCE THE PROBABILITY OF SUCH A SYSTEM BEING KNOWN UPON THE MIDDLE EARTH IS HIGH AND I NEED NOT DWELL ON THIS ASPECT. MOST IMPORTANTLY, THE SYSTEM IS CAPABLE OF MUCH EXPANSION BEYOND THAT GIVEN BY SCHLESSINGER--WITHIN ONE SYSTEM ONE HAS SCALES SUITABLE FOR THE UNACCOMPANIED SONG AND DECLAMATION OF MEN, DWARVES, AND HOBBITS, AND SUBTLE MICROTONAL ANO HARMONIC STRUCTURES BEFITTING ELVES ALONE. ELVISH MUSIC, TO ME, MUST HAVE BEEN PURE, EMOTIONAL, AND HARMONIOUS, AND FOR THIS IDEAL, SUCH A SYSTEM WOULD SEEM TO BE SPECIALLY CREATED, OR FOUND. SINCE FURTHER DETAILS ARE LIKELY TO GET TECHNICAL AND WOULD NOT BE OF COMPELLING INTEREST TO MOST READERS, I INVITE ANYONE INTERESTED TO WRITE EITHER ME OR ERVIN WILSON, 1219 POINSETTA DRIVE, LOS ANGELES. INCIDENTALLY, MR. WILSON HAS WORKED OUT GUITAR FRETTINGS, AND SINCE SIMPLE PIANO TUNINGS HAVE BEEN PUBLISHED (BY KS) THERE IS NO INSTRUMENTAL PROBLEM.

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