--- In tuning@y..., "Jon Szanto" <JSZANTO@A...> wrote:
> --- In tuning@y..., "Paul Erlich" <paul@s...> wrote:
> > > but certainly the
> > > progression in Afro-Cuban musics shows an increase in the
> > complexity
> > > of rhythmic structure and interplay,
> > Right . . . but we're talking about large pitch sets in melodies.
> I was only holding open the door that as rhythms could become more
> complex and _still_ hold undeniable sway, maybe the same could be
> said of expanding resources for complex melodies, if the listener
> became similarly 'hip' to the evolution.
> > Who said anything about quantifying it?
> If it varies from person to person, then how could you call any
> particular melody "successful" - a show of hands?
> > Well there you go. So you know very well what I mean by success
> > failure.
> In very personal terms; I wouldn't apply it to others. If one plays
> or composes enough, one finds a performance that people have
> but the performer was very disheartened, or a composition very much
> favored by the composer and disliked by an audience. In cases such
> these, what is success? Failure?
> (...and, Jon, who cares?...)
> > Look, I was just suggesting that, based on the evidence from
> > musics, Joseph Pehrson might be interested in trying to construct
> > melodies from various _subsets_ of the large tunings he's working
> > with.
> And, not oddly, I agree with you. I had just slipped into my "Paul
> Erlich 'I call the question!'" mode! :)