FAQ stuff

>Jacky wrote,
>
>>Behind allot of this
>>theory, we see great effort to *narrow* the field of choices, by
>>declaring limits to our perceptions of this and that "odd"
>>or "prime".
>
>Just so we're clear, my effort is to *expand* the field of choices, beyond
>the rational numbers and to _any_ interval in the continuum, by seeking an
>understanding of how we hear these various intervals using the very same ear
>and brain that hears the simplest ratios with such conviction.
>

Very nicely said Paul. Many of the 'bad vibes' I see in this FAQ pursuit
come from some who see a psychoacoustic approach as limiting composers
in some way.

I started a faq entry (though I am totally unqualified to do so). It
is unfinished and enclosed.

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How many different ways are there to approach microtonality?

One of the frustrating aspects of the microtonal universe is
that, since there is an infinite number of approaches one can
take, and since each approach has passionate advocates,
discussions of terms and approaches sometimes tend towards
arguments borderring on the 'one true path'.

As an example, Composer A insists on a certain pitch being
expressed as a "5/4" versus the tonic of the composition.
Composer B insists on a certain pitch being expressed as
"the 31st root of 2 to the 10th power" versus the tonic.
Composer C has yet another way of referring to this pitch
mathematically, and insists on referring to it in their
compositions as "Fb".

Let us assume that the pitch in question is indistinguishable
audibly for most listeners. Does this point to some failure
for microtonality and/or the various approaches these composers
are taking?

The answer is no since the rest of the composition and the
rest of the composition process (which is primarilly a
spiritual activity) may well be quite different.

This then is the truly liberating thing about
microtonality, in that a composer can come to find a
personal harmonic and melodic language which matches
his/her inner music.

So how can a newbie 'ease into' microtonatlity?

overtone series
(show cents for piano tuning for 16 17 18 19 20 21 22 24 25 13 14 15)
just ionian mode / major scale
(1/1 9/8 5/4 4/3 3/2 5/3 15/8)
discuss choices for filling the inner intervals
other arbitrary scales formed from 'just intervals'
septimal minor scales
pythagorean
links to everywhere...etc...
equal divisions of the 2:1
approximating just intervals
different musical connotations ('5/4' = E' or 5/4 = Fb)
within limits
in arbitrary consistent sets
without approximating just intervals
?
non 2:1 oriented scales
equal step sizes
BP
88cet

Obviously this is blowing up in my face! I was really just trying to
document my approach which slowly led from overtone series to
arbitrarily finding just tunings to fit my original 12tet music to
looking at the resources in various 'EDOs' that will provide important
features from my 12tet music with the important features (for me)
that 12tet lacks.

Bob Valentine

--- In tuning@y..., Robert C Valentine <BVAL@I...> wrote:

/tuning/topicId_19251.html#19251

> Obviously this is blowing up in my face! I was really just trying to
> document my approach which slowly led from overtone series to
> arbitrarily finding just tunings to fit my original 12tet music to
> looking at the resources in various 'EDOs' that will provide
important features from my 12tet music with the important features
(for me)that 12tet lacks.
>
> Bob Valentine

Hello Bob!

Since we're speaking of acronyms... I wonder why Monz never came up
with the simple EDI... "equal division of an interval," rather than
EDO. Dan Stearns is certainly right about the inapplicability of
that term to so many scales... Bohlen-Pierce, scales that Dan
frequently uses, and many others...

Would "EDI" be a better substitute for "EDO" or is there something
wrong with it (??)

_______ _____ ____ ___
Joseph Pehrson