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TUNING digest 1570

🔗Daniel Wolf <DJWOLF_MATERIAL@...>

11/1/1998 4:13:34 PM
J. Reinhard wrote:


These symbols are closer to classical Greek or vedic pitch accent signs
indicating relative pitch levels and certain contours. The precise
interpretation of these signs is a matter of great controversy in each of=

these traditions. Naturally, a great difference exists between Attic Gree=
k
and Hebrew, in that Greek pitch accent was a natural component of the
phonology. Thus, a given interpretation of the accent signs is either tru=
e
or false. The performance practice for Hebrew recitation, in contrast,
reflects aesthetic and historical considerations rather than linguistic
ones, and a young reciter of Hebrew will probably imitate the practice of=

his teacher or cantor. =


Gamakas, on the other hand, are contours (akin to European ornaments or
figures) with raga-specific pitch content. In South India, when ragas are=

notated (in the standard numerical notion used for teaching and study
purposes) the gamakas are not usually notated although they are absolutel=
y
obligatory and generally agreed upon. =


Exceptionally, K.S. Subramanian made an attempt in his disseration to
notate gamakas as Roman neumes. Reversing this, and interpretating neumes=

as gamakas, suggests one path for reexamining the intonation of Christian=

chant. This path might also be informed by the intonational richness of
Syrian orthodox and Coptic chant. =

🔗aloe@rev.net

11/10/1998 12:57:24 AM
>Date: Sun, 01 Nov 1998 23:12:26 +0000
>From: Harold Fortuin
>Subject: LA/San Diego visit

>I work
>out new functional harmonies by modelling the voice-leading with these
>ratios above 1/1:
>
>7/6, 6/5, 11/9, 5/4, 9/7 (the five kinds of thirds)

If 11-limit just intervals are acceptable, how about 14/11 at 417.51 cents?

>7/5, 3/2 (fifths)

Is there some reason you prefer 7/5 over 10/7?

--Charlie Jordan