World Harmony Project Tuning Digest 1150

I appreciate Denny Genovese's response to my query: "So, thanks to your
interest we are (at least for now) abandoning the assertion that '[Just
intonation] is therefore the starting place from which all indigenous
musical traditions began' and will modify our web page accordingly." I
especially like the parenthetical "at least for now," because my point
was not to criticize the assertion, but to encourage our tuning experts
to undertake the research that would prove or disprove it. We badly
need a "World Harmony Project": if we actually measured and classified
world harmonic practice (i.e. intervallic usage whether played
simultaneously in chords or in recursive melodic patterns) we would
probably have many of the answers participants in the tuning list are
looking for.



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From: kollos@cavehill.dnet.co.uk
Subject: Pitch Relations and Frequency Ratios
PostedDate: 13-08-97 18:39:22
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> To say, for example, that 53-tET has no syntonic comma isn't helpful.
> Sure it's tempered, but so are all ET intervals, including the perfect
> fifth, a term which is not restricted to 3/2 in common usage. What's
> so special about 81/80?

In short, two things:
1. 81:80 is a well-known means of creating an open system of tuning - one
with an indefinite number of tones per octave. Ivor Darreg felt, and I
agree, that that property is as important as the fact that it's the pitch
difference between the dominant of the dominant and the submediant of the
subdominant, or at least too important to relegate it to a minor
subdistinction within a larger category.
2. The syntonic comma, in its historical usage as 81:80 has become a mathe-
matical unit of meantone temperament. It seems risky to lump a yard in
with a meter and call them both meters!



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From: non12@deltanet.com
Subject: Doubly Positive systems
PostedDate: 24-08-97 17:23:31
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