"Pythagorean" approach to BP

I have come across a purely mathematical derivation of the BP scale, and I
thought at least the "Pythagoreans" among you might be interested in this. I
have put it on the net under
http://members.aol.com/bpsite/scales.html
A "Pythagorean" approach

Regards to all on the list
Heinz Bohlen

> I just gave a listen to Igor Darreg's CD (Detwelvulate)

Don't forget the "!" at the end. :-)



> Is it possible that individuals
> who attempt to sing within the constraints of a given scale or temperment,
> and find themselves unable to do it, are just singing to a different scale
> or temperment that they don't recognize? A kind of "inborn" scale that they
> personally "resonate" with.

I don't think I've heard that question, as such, having been raised
before. There is of course no dirth of psychoacoustic theories aimed at
explaining sound perception across all humans as a whole. Some seem more
successful than others.

But certainly each of us finds certain tunings more interesting than
others. It's kinda hard to know how much of that is genetic and how much is
environmental.

Perhaps a place to start would be to look for any volume peaks or troughs
that might or might not exist in the individual's ears across the audible
frequency spectrum.

> Perhaps a place to start would be to look for any volume peaks or tr=
oughs
> that might or might not exist in the individual's ears across the audib=
le
> frequency spectrum.

I'd be willing to bet nevertheless, that which tunings we find most ap=
pealing
is more based upon how we first experienced various intervals, or more
generally, what impressions we associate with various intervals. For exa=
mple, I
relate very well to tunings with 7:4s in them, because I first discovered=
them
(in approximation) 20-some-odd years ago while I was doing my 10TET guita=
r and
flute science-fair projects back in high school. That was an exceptional=
ly
enlightening time of my life, so I tend to enjoy 7:4s a lot.

Or a similar avenue would be what, if any, melodies various intervals =
remind
us of. Major sixths, for example, remind me of the opening interval of T=
amino's
first aria in Die Zauberfl=F6te. It's not impossible that other aspects =
of that
aria - perhaps its contemplative aura - also rub off on my impression of =
what a
major sixth should sound like.

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End of TUNING Digest 1577
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