UT(AND)OT [Utonal/Otonal experiment}

Paul Erlich wrote TD 655:
> Exactly:
>
> 9/8-------9/8
> 9/5-(50�)-7/4
> 3/2-------3/2
> 9/7-(50�)-5/4
> 1/1-------1/1
>
> >And the "high pitch" that is the "fundamental" of the Utonal series, is
> >that the very tiny, extremely high tone in the first example??
>
> Do you hear it in the sine wave example? I sure don't.
>
> >That
> >reminds me of the John Cage tone "our own nervous system in
> >operation..."
>
> I'll reserve comment until I'm sure whether you were referring to the sine
> wave example or the sawtooth example (Joseph?)

Thanks, Paul Erlich, for the commentary regarding Daniel Wolf's
interesting Utonal/Otonal experiment.

I am suggesting that I hear something high that I imagined COULD be the
fundamental during the SAWTOOTH UTONAL exercise. I heard nothing of the
kind during the SINE Utonal example.

Am I getting this right??: Basically when you force a harmonic series
down from a high fundamental you are creating a spectrum that is very
different from the harmonious Otonal since each of the "articifial"
Utonal pitches sets up IT'S OWN OTONAL series and they conflict with one
another since the basic harmonic array is artificial (??)

____________ ________ ___ __ _
Joseph Pehrson

Joseph Pehrson wrote,

> I am suggesting that I hear something high that I imagined COULD be
the
> fundamental during the SAWTOOTH UTONAL exercise. I heard nothing
of the
> kind during the SINE Utonal example.

Joseph, you're not imagining anything. What you're probably hearing
in the sawtooth example is the common overtone of all the
fundamentals. The brain doesn't have to fill anything in here.

> Am I getting this right??: Basically when you force a harmonic
series

You mean subharmonic series?

> down from a high fundamental you are creating a spectrum that is
very
> different from the harmonious Otonal since each of the "articifial"
> Utonal pitches sets up IT'S OWN OTONAL series and they conflict
with one
> another since the basic harmonic array is artificial (??)

Basically, yes; though the degree of conflict is minimal when
considered from a Plomp/Sethares standpoint, from a tonalness
standpoint (and if combination tones are involved), the multiplicity
of otonal series is quite confusing to the ear.