An Idea and Project

Hello,

I just subbed back on after taking a few months off from the tuning list [ I
was the one with the mohawk at this years microfest; no mohawk anymore :( ]. I
am still in the initial process of getting through tuning basics and relating
it to my other areas of musical interest (computer music, studio technique,
etc.). I had the opportunity to study in Paris at CCMIX (www.ccmix.com) this
summer. It was a truly wonderful experience that helped me grasp the
compositional imperative of 20th century and the connections to computer music
among other aspects.

I am writing with great excitement as I have been able to get through the doors
of my university music department and setup an independent project using Kyma.
Before I had no luck accessing the resources of my university as the doors were
shut as I am a CSC major and the State university I attend is not open to cross
discipline activities. I have 60 hours (6 a week) booked this fall on the Kyma
system. I had access to a Kyma system while at CCMIX, so I have a decent
understanding in regard to operation.

This is my conception of the project I am going to undertake and would really
like some feedback or suggestions on references to prior work to look into:

I have taken interest in the chapter 'Consonance and Scales' by John Pierce
found in Music, Cognition, and Computerized Sound -- An Introduction to
Psychoacoustics and plan to work from ideas generated from this source.

Here is an insightful quote: "Clearly the phenomenon of consonance depends on
the coincidence of the partials of different tones rather than on the
numerological properties of integers."

I am interested in exploring the relationship of consonance and dissonance of
tuning systems based around electronic processes. Despite the numerological
lattices that I have been overwhelmed with in the literature I have I believe
that they alone do not establish proper control over consonance or dissonance
in any completely meaningful and useful way for electronic composition. It is
my understanding that the partials/overtones of a particular instrument
(electronic) establish how consonant or how dissonant the relation will be
instead of just integer ratios. IE a square wave will have a congregation of
higher partials compared to a triangle wave. It is when these partials do not
match in chords that causes dissonance. Of course this changes between all
instruments and particular electronic sound sources despite the fundamental
frequency.

I plan to create a Kyma patch that is based around the sample convolution
example. I hope to manipulate the frequency spectra of one source (IE control
the partials) and apply it onto an evolving microsound structure. I hope to
create a decent interface to such a patch through using the Peavey PC1600x and
Doepfer Drehbank (possibly midi note input too), so that it may be used for
real time performance. I am more than willing to put my work up in public
domain as I hope there are several people on this list that can help me with
this project.

If this turns out to work decently I am interested in mapping the partials
behind any particular sound source in relation to a scale lattice. A 3d
interface would be useful for this line of inquiry where groups of notes may be
coordinated visually and their partials manipulated to get inside a particular
scale structure. Micro-microtonal music... ;)

Anyway, that is what I am up to this fall and would really like some input as
the topic of tuning is still new to me. I have a vision (sounds in head) of
being able to dynamically filter and effect (delay) partials in the frequency
domain and apply them to textural sound sources. IE you could take a simple
chord and move it dynamically from consonance to dissonance over time while the
frequency spectra is convolved on to a related or unrelated textural source
that is also evolving.

Much respect and I hope all is well...
--Mike Leahy (aka Catharsis)

Egregious
"Spiritual renewal through music for those outside the heard."
http://www.egregious.net/

In-Reply-To: <9pvqbm+k0q7@eGroups.com>
Jacky wrote:

> Again, I say that to think about finding an optimal alignment of
> partials for one instrument is one thing (and rather easy to do with
> software these days), but to find a good scale for a number of mixed
> inharmonic partials is yet another endeavor all together.
>
> I have at least two solutions to this, which I would love to discuss
> with you - or anyone interested - here or, we can try again on MMM.

I'm interested. I think here's as good a place as any, although it
depends on the nature of your solutions.

Graham

--- In tuning@y..., Mike Leahy <catharsis@e...> wrote:

> I have taken interest in the chapter 'Consonance and Scales' by
John Pierce
> found in Music, Cognition, and Computerized Sound -- An
Introduction to
> Psychoacoustics and plan to work from ideas generated from this
source.
>
> Here is an insightful quote: "Clearly the phenomenon of consonance
depends on
> the coincidence of the partials of different tones rather than on
the
> numerological properties of integers."

Hi Mike . . . do you have access to another book of Pierce's: _The
Science of Musical Sound_? If so, what you're talking about here is
covered in the chapter, _Helmholtz and Consonance_. But please be
sure to read the next chapter too: _Rameau and Harmony_. You'll see
how some of these assumptions fell apart in Pierce's later
investigations!

> I am interested in exploring the relationship of consonance and
dissonance of
> tuning systems based around electronic processes. Despite the
numerological
> lattices that I have been overwhelmed with in the literature

??

> I have I believe
> that they alone do not establish proper control over consonance or
dissonance
> in any completely meaningful and useful way for electronic
composition.

Please tell me what "numerological lattices" you're referring to. The
lattices we use around here have a very strong psychoacoustic basis!

> It is
> my understanding that the partials/overtones of a particular
instrument
> (electronic) establish how consonant or how dissonant the relation
will be
> instead of just integer ratios. IE a square wave will have a
congregation of
> higher partials compared to a triangle wave. It is when these
partials do not
> match in chords that causes dissonance.

Have you conducted any experiments to verify this supposition? Some
of us have, and what we have found is that, while clashes between
overtones have some effect on consonance, there are often more
important factors. Bob Wendell, for example, has spoken at length
about some of these factors here. The Pierce chapter _Rameau and
Harmony_ will give you a clue as to what I mean here, as will another
book: _Harmony: A Psychoacoustical Approach_ by Richard Parncutt.

Your projects sound fascinating and good luck with them!

-Paul