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| - | The Xenharmonicon | + | The Xenharmonicon |
| + | ====Current Journal 2018+==== | ||
| + | ((https:// | ||
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| + | |||
| + | ====Historic Issues 1974-1998==== | ||
| + | |||
| + | The Xenharmonicon was a journal that ran from 1974 to 1998 that had a focus on experimental and microtonal music. The magazine was published by [[John H. Chalmers]] through the University of California San Diego. There is no known digital copies of the magazine but there is an archive of the articles that were originally published in it. | ||
| ===Volume 1 (Spring 1974)=== | ===Volume 1 (Spring 1974)=== | ||
| Line 241: | Line 249: | ||
| Diamond Marimba II, | Diamond Marimba II, | ||
| - | | + | Cris Forster |
| Ascent of the Phoenix (score), | Ascent of the Phoenix (score), | ||
| - | | + | C. Forster |
| "... out of fathomless Dark/into limitless Light ..." (score), | "... out of fathomless Dark/into limitless Light ..." (score), | ||
| - | | + | Douglas Walker |
| Xenharmonic Bulletin No. 9, | Xenharmonic Bulletin No. 9, | ||
| - | | + | Ivor Darreg |
| Anthracite Sweetheart (score), | Anthracite Sweetheart (score), | ||
| - | | + | Brian Hartzler |
| A Short History of Thirty-One Tones to the Octave, | A Short History of Thirty-One Tones to the Octave, | ||
| - | | + | Martin Sweidel |
| Fantasia in 19-Tone Equal Temperament (score), | Fantasia in 19-Tone Equal Temperament (score), | ||
| - | | + | Martin Sweidel |
| Fabio Colonna' | Fabio Colonna' | ||
| - | | + | Lynn Wood Martin |
| Decimal Music, | Decimal Music, | ||
| - | | + | Gary Morrison |
| Decadence (score), | Decadence (score), | ||
| - | | + | Gary Morrison |
| Item: Thoughts while Designing a Gamelan, | Item: Thoughts while Designing a Gamelan, | ||
| - | | + | Lou Harrison |
| A Chart of All Superparticular Ratios from 2/1 through 81/80 with Value (or Size) in Cents (chart), | A Chart of All Superparticular Ratios from 2/1 through 81/80 with Value (or Size) in Cents (chart), | ||
| - | | + | William Colvig |
| Four Duets for Psaltery and Harp (score), | Four Duets for Psaltery and Harp (score), | ||
| - | | + | David Rosenthal |
| Helix Song (score), | Helix Song (score), | ||
| - | | + | David Rosenthal |
| Four Pieces in Didymus' | Four Pieces in Didymus' | ||
| - | | + | Larry London |
| Movement for Andréa Smith (My Funny Valentine for Just String Quartet) (score), | Movement for Andréa Smith (My Funny Valentine for Just String Quartet) (score), | ||
| - | | + | Larry Polansky |
| Binary Flute, | Binary Flute, | ||
| - | | + | Denny Genovese |
| Web of Fifths and Thirds (chart), | Web of Fifths and Thirds (chart), | ||
| - | | + | Scott Makeig |
| Polychordal Arrays of MOS Scales, | Polychordal Arrays of MOS Scales, | ||
| - | | + | John H. Chalmers, Jr. |
| A Collection of Scales With Nineteen Tones, | A Collection of Scales With Nineteen Tones, | ||
| - | | + | John H. Chalmers, Jr. |
| Some Additional Nineteen-tone Scales, | Some Additional Nineteen-tone Scales, | ||
| - | | + | John H. Chalmers, Jr. |
| ===Volume 9 (1986)=== | ===Volume 9 (1986)=== | ||
| Notes and Comments, | Notes and Comments, | ||
| - | | + | Daniel J. Wolf |
| Tritriadic Scales with Seven Tones, | Tritriadic Scales with Seven Tones, | ||
| - | | + | John H. Chalmers, Jr. |
| A Kind Word or Two About Alexander John Ellis on the Occasion of the Centennial 1885-1985 of the Second English Edition of His Translation of and Appendix to Helmholtz' | A Kind Word or Two About Alexander John Ellis on the Occasion of the Centennial 1885-1985 of the Second English Edition of His Translation of and Appendix to Helmholtz' | ||
| - | | + | Ivor Darreg |
| Without Frets (I): General Considerations, | Without Frets (I): General Considerations, | ||
| - | | + | David Feldman |
| Going Places (score), | Going Places (score), | ||
| - | | + | David Feldman |
| Combination-Product Set Patterns, | Combination-Product Set Patterns, | ||
| - | | + | Kraig Grady |
| String Quartet (1965-1975), | String Quartet (1965-1975), | ||
| - | | + | Douglas Leedy |
| Will You Miss Me (score), | Will You Miss Me (score), | ||
| - | | + | Larry Polansky |
| The Marwa Permutations, | The Marwa Permutations, | ||
| - | | + | Ervin M. Wilson |
| The Melodic Version (1984) of The Second Dream of the High-Tension Line Stepdown Transformer from The Four Dreams of China (1962): Notes by the Composer, | The Melodic Version (1984) of The Second Dream of the High-Tension Line Stepdown Transformer from The Four Dreams of China (1962): Notes by the Composer, | ||
| - | | + | La Monte Young |
| ===Volume 10 (1987)=== | ===Volume 10 (1987)=== | ||
| Notes and Comments, | Notes and Comments, | ||
| - | | + | D. J. Wolf |
| Monochordal Interpretations of Propositions in Euclid' | Monochordal Interpretations of Propositions in Euclid' | ||
| - | | + | Jon Barlow |
| Tritriadic Scales with Seven Tones, Part Two: Derived Forms and Structural Properties, | Tritriadic Scales with Seven Tones, Part Two: Derived Forms and Structural Properties, | ||
| - | | + | John H. Chalmers, Jr. |
| Table of Errors in Equally-Tempered Intervals (chart), | Table of Errors in Equally-Tempered Intervals (chart), | ||
| - | | + | Ivor Darreg |
| Four Bass Studies (what to do when the night comes...) (score), | Four Bass Studies (what to do when the night comes...) (score), | ||
| - | | + | Larry Polansky |
| The Purvi Modulations, | The Purvi Modulations, | ||
| - | | + | Ervin M. Wilson |
| Trio: The Sands (music that doesn' | Trio: The Sands (music that doesn' | ||
| - | | + | Daniel Wolf |
| ===Volume 11 (1989)=== | ===Volume 11 (1989)=== | ||
| Notes and Comments, | Notes and Comments, | ||
| - | | + | Daniel J. Wolf, |
| - | p. ii | + | p. ii |
| Tetrachordal Scales and Complexes, | Tetrachordal Scales and Complexes, | ||
| - | | + | John H. Chalmers, Jr., |
| - | pp. 1-20 | + | pp. 1-20 |
| A Question of Microtonal Notation, | A Question of Microtonal Notation, | ||
| - | | + | Ezra Sims, |
| - | pp. 21-24 | + | pp. 21-24 |
| Speculum Pélogi, | Speculum Pélogi, | ||
| - | | + | D. J. Wolf, |
| - | pp. 25-33 | + | pp. 25-33 |
| Mr. Cage, His Ghosts, and Cheap Imitation(s), | Mr. Cage, His Ghosts, and Cheap Imitation(s), | ||
| - | | + | Daniel J. Wolf, |
| - | pp. 34-42 | + | pp. 34-42 |
| A Linear Twenty-Nine Tone Scale, | A Linear Twenty-Nine Tone Scale, | ||
| - | | + | Jose L. Garcia, |
| - | pp. 43-45 | + | pp. 43-45 |
| Notes on a New Marimba, its Tuning, and its Music, | Notes on a New Marimba, its Tuning, and its Music, | ||
| - | | + | Erv Wilson, Stephen Smith, and Kraig Grady, |
| - | pp. 46-60 | + | pp. 46-60 |
| Review of The Science of Musical Sound, by John R. Pierce; and Lutes, Viols and Temperaments, | Review of The Science of Musical Sound, by John R. Pierce; and Lutes, Viols and Temperaments, | ||
| - | | + | Douglas Leedy, |
| - | pp. 61-67 | + | pp. 61-67 |
| Movement for Lou Harrison, for just bass quartet (score), | Movement for Lou Harrison, for just bass quartet (score), | ||
| - | | + | Larry Polansky, |
| - | pp. 68-89 | + | pp. 68-89 |
| Xenharmonikon I through Xenharmonikon X, an Index (chart), | Xenharmonikon I through Xenharmonikon X, an Index (chart), | ||
| - | | + | Daniel J. Wolf, |
| - | pp. 90-93 | + | pp. 90-93 |
| ===Volume 12 (Spring 1989)=== | ===Volume 12 (Spring 1989)=== | ||
| Notes and Comments, | Notes and Comments, | ||
| - | | + | Daniel J. Wolf, |
| - | p. ii | + | p. ii |
| D' | D' | ||
| - | | + | Erv Wilson, |
| - | pp. 1-39 | + | pp. 1-39 |
| Tritriadic Scales with Seven Tones. Part Three: The M->T and D->M Matrices, | Tritriadic Scales with Seven Tones. Part Three: The M->T and D->M Matrices, | ||
| - | | + | John H. Chalmers, Jr., |
| - | pp. 40-68 | + | pp. 40-68 |
| Development of a 53-tone Keyboard Layout, | Development of a 53-tone Keyboard Layout, | ||
| - | | + | Larry A. Hanson, |
| - | pp. 69-87 | + | pp. 69-87 |
| Supplement: Makers of Instruments, | Supplement: Makers of Instruments, | ||
| - | | + | Daniel J. Wolf, |
| - | pp. 88-89 | + | pp. 88-89 |
| ===Volume 13 (Spring 1991)=== | ===Volume 13 (Spring 1991)=== | ||
| Notes and Comments, | Notes and Comments, | ||
| - | | + | John H. Chalmers, Jr., |
| - | pp. 1-3 | + | pp. 1-3 |
| Information and Guidelines for Subscribers and Contributors to Xenharmonikôn, | Information and Guidelines for Subscribers and Contributors to Xenharmonikôn, | ||
| - | | + | John H. Chalmers, Jr., |
| - | pp. 3-4 | + | pp. 3-4 |
| Biases in Xenharmonic Scales, | Biases in Xenharmonic Scales, | ||
| - | | + | I. Darreg and B. McLaren, |
| - | pp. 5-19 | + | pp. 5-19 |
| General Methods for Generating Musical Scales, | General Methods for Generating Musical Scales, | ||
| - | | + | B. McLaren, |
| - | pp. 20-44 | + | pp. 20-44 |
| Notes Towards Quasi-Tonal Treiskaidekaphilia, | Notes Towards Quasi-Tonal Treiskaidekaphilia, | ||
| - | | + | Paul Rapoport, |
| - | pp. 45-52 | + | pp. 45-52 |
| Three Approaches to Harmony in 13-TET, | Three Approaches to Harmony in 13-TET, | ||
| - | | + | John H. Chalmers, Jr., |
| - | pp. 53-64 | + | pp. 53-64 |
| Interactive Program - Just Modulations (computer program), | Interactive Program - Just Modulations (computer program), | ||
| - | | + | Buzz Kimball, |
| - | pp. 65-66 | + | pp. 65-66 |
| Season of Dust (score), | Season of Dust (score), | ||
| - | | + | Buzz Kimball, |
| - | pp. 67-69 | + | pp. 67-69 |
| T1: california duet for trombone and trombonist (score), | T1: california duet for trombone and trombonist (score), | ||
| - | | + | R. Marsanyi, |
| - | pp. 70-76 | + | pp. 70-76 |
| Composing in Seven Equal, | Composing in Seven Equal, | ||
| - | | + | Clem Fortuna, |
| - | pp. 77-79 | + | pp. 77-79 |
| String Quartet in Seven-Equal (score), | String Quartet in Seven-Equal (score), | ||
| - | | + | C. Fortuna, |
| - | pp. 80-85 | + | pp. 80-85 |
| The Discovery of a 14-tone Scale, | The Discovery of a 14-tone Scale, | ||
| - | | + | Kraig Grady, |
| - | pp. 86-89 | + | pp. 86-89 |
| A Graphical Technique for Finding Equally-Tempered Scales by Their Harmonic Resources, | A Graphical Technique for Finding Equally-Tempered Scales by Their Harmonic Resources, | ||
| - | | + | Gary Morrison, |
| - | pp. 90-94 | + | pp. 90-94 |
| Review of Selected Musical Compositions (1948-1972), | Review of Selected Musical Compositions (1948-1972), | ||
| - | | + | Douglas Leedy, |
| - | pp. 95-99 | + | pp. 95-99 |
| Review of Pitch for the International Microtonalist, | Review of Pitch for the International Microtonalist, | ||
| - | | + | John H. Chalmers, Jr., |
| - | pp. 100-101 | + | pp. 100-101 |
| Review of Pitch, Pi, and Other Musical Paradoxes, by Charles E. H. Lucy, | Review of Pitch, Pi, and Other Musical Paradoxes, by Charles E. H. Lucy, | ||
| - | | + | John H. Chalmers, Jr., |
| - | pp. 102-103 | + | pp. 102-103 |
| Resources, | Resources, | ||
| - | | + | John H. Chalmers, Jr., |
| - | pp. 104-105 | + | pp. 104-105 |
| ===Volume 14 (Spring 1993)=== | ===Volume 14 (Spring 1993)=== | ||
| Notes & Comments, | Notes & Comments, | ||
| - | | + | John H. Chalmers, Jr., |
| - | pp. 1-2 | + | pp. 1-2 |
| Those Difficult Teens (and Other Microtonal Scales), | Those Difficult Teens (and Other Microtonal Scales), | ||
| - | | + | B. McLaren, |
| - | pp. 3-6 | + | pp. 3-6 |
| A Nostalgic Look at the 20s (& Other Microtonal Scales), | A Nostalgic Look at the 20s (& Other Microtonal Scales), | ||
| - | | + | B. McLaren, |
| - | pp. 6-8 | + | pp. 6-8 |
| The Low Profile of Those Higher Divisions of the Octave, | The Low Profile of Those Higher Divisions of the Octave, | ||
| - | | + | B. McLaren, |
| - | pp. 8-11 | + | pp. 8-11 |
| The Uses and Characteristics of Non-octave Scales, | The Uses and Characteristics of Non-octave Scales, | ||
| - | | + | B. McLaren, |
| - | pp. 12-22 | + | pp. 12-22 |
| An Interview With Ivor Darreg About "The Xenharmonic Frontier", | An Interview With Ivor Darreg About "The Xenharmonic Frontier", | ||
| - | | + | B. McLaren, |
| - | pp. 23-39 | + | pp. 23-39 |
| An Analysis of Ivor Darreg' | An Analysis of Ivor Darreg' | ||
| - | | + | B. McLaren, |
| - | pp. 40-49 | + | pp. 40-49 |
| Xenharmonic Frontier Vol. 1, No. 9: 21/oct (score), | Xenharmonic Frontier Vol. 1, No. 9: 21/oct (score), | ||
| - | | + | Ivor Darreg, |
| - | pp. 50-52 | + | pp. 50-52 |
| Xenharmonic Bulletin No. 12, | Xenharmonic Bulletin No. 12, | ||
| - | | + | Ivor Darreg, |
| - | pp. 53-79 | + | pp. 53-79 |
| Horn (score), | Horn (score), | ||
| - | | + | Larry Polansky, |
| - | pp. 80-90 | + | pp. 80-90 |
| Epimores (score), | Epimores (score), | ||
| - | | + | Carter Scholz, |
| - | pp. 91-92 | + | pp. 91-92 |
| An Imaginary Nocturne (score), | An Imaginary Nocturne (score), | ||
| - | | + | Douglas Walker, |
| - | pp. 93-108 | + | pp. 93-108 |
| limit19.c, a limit 19 calculator for just intonation music composition (computer program), | limit19.c, a limit 19 calculator for just intonation music composition (computer program), | ||
| - | | + | Matthew Walker, |
| - | pp. 109-113 | + | pp. 109-113 |
| ===Volume 15 (Autumn 1993)=== | ===Volume 15 (Autumn 1993)=== | ||
| Notes & Comments 15, | Notes & Comments 15, | ||
| - | | + | John H. Chalmers, Jr., |
| - | pp. 1-2 | + | pp. 1-2 |
| The Tonality of the Golden Section, | The Tonality of the Golden Section, | ||
| - | | + | Walter O' |
| - | pp. 3-18 | + | pp. 3-18 |
| The Year of the Monkey, | The Year of the Monkey, | ||
| - | | + | Brink McGoogy, |
| - | pp. 19-26 | + | pp. 19-26 |
| The Uses and Characteristics of Non-just Non-equal-tempered Scales, | The Uses and Characteristics of Non-just Non-equal-tempered Scales, | ||
| - | | + | B. McLaren, |
| - | pp. 27-41 | + | pp. 27-41 |
| Circles of Fifths, | Circles of Fifths, | ||
| - | | + | B. McLaren, |
| - | pp. 42-51 | + | pp. 42-51 |
| 9/Oct Piano Piece (score), | 9/Oct Piano Piece (score), | ||
| - | | + | B. McLaren, |
| - | pp. 52-55 | + | pp. 52-55 |
| Giving Number a Voice, | Giving Number a Voice, | ||
| - | | + | Douglas Leedy, |
| - | pp. 56-59 | + | pp. 56-59 |
| The Triadic Diamond, the Triadic Reversed Diamond and Their Constituent Tetrachords when D = 3/2, | The Triadic Diamond, the Triadic Reversed Diamond and Their Constituent Tetrachords when D = 3/2, | ||
| - | | + | John H. Chalmers, |
| - | pp. 60-73 | + | pp. 60-73 |
| The Touch-Tone® Signal Pitches as Subsets of Stretched 14-Tone ET' | The Touch-Tone® Signal Pitches as Subsets of Stretched 14-Tone ET' | ||
| - | | + | John H. Chalmers, |
| - | pp. 74-80 | + | pp. 74-80 |
| Cents and Non-Cents: Logarithmic Measures of Musical Interval Magnitude, | Cents and Non-Cents: Logarithmic Measures of Musical Interval Magnitude, | ||
| - | | + | John H. Chalmers, |
| - | pp. 81-95 | + | pp. 81-95 |
| Review of The Just Intonation Primer, by David B. Doty, | Review of The Just Intonation Primer, by David B. Doty, | ||
| - | | + | John H. Chalmers, Jr., |
| - | pp. 96-97 | + | pp. 96-97 |
| A Numerical Theory of Scale Invention, | A Numerical Theory of Scale Invention, | ||
| - | | + | Bruce R. Gilson, |
| - | pp. 98-134 | + | pp. 98-134 |
| ===Volume 16 (Autumn 1995)=== | ===Volume 16 (Autumn 1995)=== | ||
| Notes & Comments 16, | Notes & Comments 16, | ||
| - | | + | John H. Chalmers, |
| - | pp. 1-3 | + | pp. 1-3 |
| In Memoriam Ivor Darreg, | In Memoriam Ivor Darreg, | ||
| - | | + | John H. Chalmers, |
| - | pp. 4-18 | + | pp. 4-18 |
| Ivor Darreg: An Interview About His Life and Work, | Ivor Darreg: An Interview About His Life and Work, | ||
| - | | + | B. McLaren, |
| - | pp. 19-35 | + | pp. 19-35 |
| Macrotonal Scales, | Macrotonal Scales, | ||
| - | | + | B. McLaren, |
| - | pp. 36-44 | + | pp. 36-44 |
| More About Non-Octave Scales, | More About Non-Octave Scales, | ||
| - | | + | B. McLaren, |
| - | pp. 45-53 | + | pp. 45-53 |
| An Interview with Ralph David Hill, | An Interview with Ralph David Hill, | ||
| - | | + | B. McLaren, |
| - | pp. 54-60 | + | pp. 54-60 |
| The Notation of Equal Temperaments, | The Notation of Equal Temperaments, | ||
| - | | + | Paul Rapoport, |
| - | pp. 61-84 | + | pp. 61-84 |
| 34-Tone Notation System Based on Adjusted 17-Tone, | 34-Tone Notation System Based on Adjusted 17-Tone, | ||
| - | | + | Gary Morrison, |
| - | pp. 86-91 | + | pp. 86-91 |
| On the Nature of Working with Performers, | On the Nature of Working with Performers, | ||
| - | | + | Kraig Grady, |
| - | p. 92 | + | p. 92 |
| Centaur - A 7-Limit 12 Tone Tuning (chart), | Centaur - A 7-Limit 12 Tone Tuning (chart), | ||
| - | | + | K. Grady, |
| - | p. 93 | + | p. 93 |
| A Rhythmic Application of the Horagrams, | A Rhythmic Application of the Horagrams, | ||
| - | | + | Kraig Grady, |
| - | pp. 94-98 | + | pp. 94-98 |
| Drones 1994 #2: Old Commas Inverted and Revisited (score), | Drones 1994 #2: Old Commas Inverted and Revisited (score), | ||
| - | | + | Warren Burt, |
| - | pp. 99-102 | + | pp. 99-102 |
| " | " | ||
| - | | + | Warren Burt, |
| - | p. 103 | + | p. 103 |
| A Brief History of the Lambdoma and the Musical Properties of the Computer Program for the " | A Brief History of the Lambdoma and the Musical Properties of the Computer Program for the " | ||
| - | | + | Barbara Hero, |
| - | pp. 104-113 | + | pp. 104-113 |
| Notes on Mysteries, | Notes on Mysteries, | ||
| - | | + | Neil Haverstick, |
| - | pp. 114-115 | + | pp. 114-115 |
| Mysteries (score), | Mysteries (score), | ||
| - | | + | Neil Haverstick, |
| - | pp. 116-117 | + | pp. 116-117 |
| Studien im Gebiet der reinen Stimmung (A Translation of Pages 8 to 18 by Daniel J. Wolf), | Studien im Gebiet der reinen Stimmung (A Translation of Pages 8 to 18 by Daniel J. Wolf), | ||
| - | | + | Shohé Tanaka, |
| - | pp. 118-125 | + | pp. 118-125 |
| Review of Principios de la Gama Dinámica, by Eduardo Sábat Garibaldi, | Review of Principios de la Gama Dinámica, by Eduardo Sábat Garibaldi, | ||
| - | | + | John Chalmers, |
| - | pp. 126-127 | + | pp. 126-127 |
| ===Volume 17 (Spring 1998)=== | ===Volume 17 (Spring 1998)=== | ||
| Notes & Comments 17, | Notes & Comments 17, | ||
| - | | + | John H. Chalmers, |
| - | pp. 1-3 | + | pp. 1-3 |
| Notes on Lattice: one approach to dynamic tuning, | Notes on Lattice: one approach to dynamic tuning, | ||
| - | | + | Carter Scholz, |
| - | pp. 4-8 | + | pp. 4-8 |
| 34-ET Notation System Based on Major and Minor Thirds, | 34-ET Notation System Based on Major and Minor Thirds, | ||
| - | | + | Larry A. Hanson, |
| - | pp. 9-11 | + | pp. 9-11 |
| Tuning, Tonality and Twenty-Two-Tone Temperament, | Tuning, Tonality and Twenty-Two-Tone Temperament, | ||
| - | | + | Paul Erlich, |
| - | pp. 12-40 | + | pp. 12-40 |
| The Musical Animal' | The Musical Animal' | ||
| - | | + | Heinz Bohlen, |
| - | pp. 41-56 | + | pp. 41-56 |
| A Brief History of Microtonality in the Twentieth Century, | A Brief History of Microtonality in the Twentieth Century, | ||
| - | | + | B. McLaren, |
| - | pp. 57-110 | + | pp. 57-110 |
| The Number of 23-Prime-Limit Superparticular Ratios Less than 10, | The Number of 23-Prime-Limit Superparticular Ratios Less than 10, | ||
| - | | + | John H. Chalmers, |
| - | pp. 111-115 | + | pp. 111-115 |
| Pitch, Scale and Tuning in Rusty: A Fuzzy Logic Approach to the Tuning Problem, | Pitch, Scale and Tuning in Rusty: A Fuzzy Logic Approach to the Tuning Problem, | ||
| - | | + | Michael Saunders and Michael Greenhough, |
| - | pp. 116-119 | + | pp. 116-119 |
| Review of On the Relations of Tone, by Martin Vogel, | Review of On the Relations of Tone, by Martin Vogel, | ||
| - | | + | Douglas Leedy, |
| - | pp. 120-123 | + | pp. 120-123 |
| Letter to the Editor, | Letter to the Editor, | ||
| - | Heinz Bohlen , | + | Heinz Bohlen, |
| p. 124 | p. 124 | ||
| - | ===NOTES=== | + | ====NOTES==== |
| - | Link to with Web Archive (snapshot from 2002) of the Xenharmonicon website ((https:// | + | There is a new journal started in 2018 also running under the name Xenharmonikon ((https:// |
| + | Link to with Web Archive (snapshot from December 17th 2001) of the Xenharmonicon website ((https:// | ||
| + | The historic issues are available to purchase as physical copies (still no digital copies to be found) ((http:// | ||
