more on this temperament tangent

[Tvak@AOL.COM]

In a message dated 11/2/01 3:57:49 AM, A440A@AOL.COM writes:

<< Why do we find no compositions of Gregorian chant that use all 12 notes?  
Why, before Walter of Odington's writing in the 14th century, does it seem 
that thirds were not used in composition?  Could it be that the 81/64 
interval that resulted from the use of pure fifths might have been too harsh, 
and was regarded as a discord, thus making it unfit for use?  >>

God, where do I begin?  The diatribe of disinformation is monumental.  

Gregorian chant is a vocal form.  I think it unlikely that they would sing 
perfect fifths and find that their thirds were too wide.  I suppose that 
temperament also led 13th century composers to write parallel seconds and 
sevenths, a practice abandoned in the 14th century.  

Orchestral music is played in just intonation.  Each player constantly tunes 
his instrument adjusting each note.  Temperament only exists on keyboard 
instruments.  Not in the minds of composers.  When a composer writes an 
orchestral piece, he thinks in just intonation.  

To think that temperament influenced composers is like the tail wagging the 
dog.  Your inflated sense of self-importance, to even imagine that tuning 
conventions had an impact on a piece like Beethoven's Ninth, is arrogant.

Tom Sivak