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FW: Discussion on "Reply to Gary Morriso

🔗PAULE <ACADIAN/ACADIAN/PAULE%Acadian@...>

11/22/1996 3:55:32 PM
Don't want to leave anyone out. . .
----------
From: Paul H. Erlich
To: Heinz Bohlen
Subject: Re: Discussion on "Reply to Gary Morriso
Date: Friday, November 22, 1996 9:02AM

>I find
>overtones much less important under harmonic aspects than
>combination tones.

Many on the list, primarily Bill Sethares (are you familiar with his work?),
have the opposite viewpoint. I try to emphasize both, since both seem very
important in defining consonance as I hear it. A third property is close to
combination tones in its implications for consonance but is perhaps more
important since it does not require loud volumes: the "virtual pitch"
property; i.e., the closer the chord is to a harmonic series, the more
clearly a "root" will be perceived (by the same means by which we hear a
harmonic series as a single pitch), and the more consonant the chord will
be.

>2.) With regard to subsets of the scale: Unlike Pierce's obviously
>preferred subscale 0 1 3 4 6 7 9 10 12 (13), I defined two "diatonic"
>scales, a "Delta" scale 0 2 3 5 6 7 9 10 12 (13) and a "Gamma" scale 0 1
>3 4 6 7 8 10 12 (13). I like the "Gamma" best, but that is a personal view.

I'll have to try these different modes out! As you may have read, Gary
Morrison and I have both experimented with this tuning and fail to hear any
3:1 equivalence. We hear the nearest approximations of 2:1 and 4:1 in the
scale as being the closest equivalences, even when square waves are used. Do
you think Enrique is right that we have been brainwashed and just need to be
re-brainwashed, or is the experimental evidence for equivalence at a
(slightly stretched) 2:1 valid? Many studies have found evidence for octave
equivalence in mammals. . .


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🔗Gary Morrison <71670.2576@...>

11/23/1996 2:05:48 AM
Perhaps your best bet for that may be Bart Hopkin?


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