Hi Mohajeri,

> yucky?I respect your opinion , but i dont agree with
> you.17of24-EDO is a good frame work for radif music.

Yes, I do know that 24 is commonly used particularly
for arabic maqamat and in that context it sounds
great. I also, as I said, thought that your piece was
great and didn't remind me of 24 at all.

In the west, 24 is handled very differently from how
it is handled in the middle-east. Here, typically
24tET appears in 'quartertone' music, which often
enough is two pianos in 12tET tuned 50 cents apart.
This was one of the easiest microtonal tunings to use
in practice by modern composers since it did not
require any specially constructed instruments, or even
any special tuning techniques, you just needed a
tuning fork a quarter-tone from A440 to start with,
tune two pianos the normal way, and you're all set.

Composers working for this arrangement tried hard to
stay away from anything that sounds like it might be
in 12. That often meant that a lot of extreme
dissonance and unpleasant intervals were used, as well
as chord progressions that seemed to be completely
random and inharmonic.

These were the first pieces that were advertised as
'microtonal' in the western art world, and they caused
many audiences to reject microtonality completely as
they associated it with the unpleasantness they heard
during these concerts. Even today, people will say
they "hate microtonality" because they heard some of
these pieces in a music appreciation class where they
were told that this was what microtonality was about -
raucousness, inharmonicity, anger and unpleasantry.

But as you've shown, this western tradition of 24 is
not the only way to approach it microtonally, and that
is a very good thing!

- xj




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