aggregates

I am reading through some of Paul Ehrlich's work on extending the Giambattista Benedetti/Jim Tenney harmonic distance measure into the concept of harmonic entropy. I know a lot of this work was done 20 years ago, and I find mention of various explorations how the ideas might be usefully extended to describe the concordance and fusion of triads and aggregates, I wonder who is still doing work in this area? Sethares mentions the consideration of Voronoi maps/partitions. Most dyadic measures could apply to the upward and downward sequence of the same intervals (otonal and utonal) similarly, although when expressed as a proportion a1:a2:...:an one of the two forms will lie lower in the periodicity harmonic series and be therefore more readily fusing... Clearly there must be an effective way of considering relative sonority of aggregates (at least of of given number of notes) to each other, and I wonder what kind of ideas are out there. I have found it useful to consider the (size n-1) chord of successive difference tones, for example given the symmetric triads 4:5:6 (major) and 10:12:15 (minor) the successive-interval difference tone structures are 1:1 and 2:3 respectively. Similarly comparing 4:5:6:7 (1:1:1) and its inversion 60:70:84:105 (10:14:21) ... as opposed to the consonant half-diminished chord 5:6:7:9 (1:1:2) --- be curious to learn more about the lines of research being done here, since one thing is clear: chords allow pitches which are virtually untuneable in dyads to be readily found: even with sinewaves f1 and f2 tuned wide it is relatively easy to hear the beating around (f1+f2)/2 tuning the triad so that the successive-interval difference tone ratio is 1:1. There are tuneable chords with 29 which in dyads is really difficult to place...
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Marc Sabat
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