JI and the Atonal

I think Julia's situation can be summed up very simply:

you can use whatever intervals you want. Including JI ones. But what you
mustn't do is connect ratios with, for want of a better term, numerology.
i.e., use JI but don't permit connotations that have no basis other than in
the numbers that make up the ratio.

As for EDO / ET scales - including 72 - these are seen to be source material
for the unusual, non 12 or whatever, intervals. If 96 or 43 or 16 or 81 or
13 does your thing, then go ahead, use them.

As for the consonance dissonance debate:

Musical sonorities often behave like particles in Newtonian Mechanics (and
possibly Relativistic Mechanics), and have velocity, mass, inertia and
momentum, and consequently kinetic and potential energy. When considered in
this way, music has a much more 'plastic' quality, free from 'absolutes'
which can obscure or defeat the very intentions of the composer.

Mark Gould

Jay here,
I like your take on the con/dissonance debate. It has always amused me that
people will at least, put up with crickets, cicadas, and other such nature
noises and often, even relish them. Yet when we put nontriadic sounds in
our music that are much less complex, most of our audience will run back to
the woods. I have my own guesses as to why people prefer bumblebees to
Bartok, but I know I caught the similarities early on when I encountered
especially electronic pieces of the Stockhausen/Xenakis variety.
At 04:50 PM 7/10/02 +0100, you wrote:
>
>As for EDO / ET scales - including 72 - these are seen to be source material
>for the unusual, non 12 or whatever, intervals. If 96 or 43 or 16 or 81 or
>13 does your thing, then go ahead, use them.
>
>As for the consonance dissonance debate:
>
>Musical sonorities often behave like particles in Newtonian Mechanics (and
>possibly Relativistic Mechanics), and have velocity, mass, inertia and
>momentum, and consequently kinetic and potential energy. When considered in
>this way, music has a much more 'plastic' quality, free from 'absolutes'
>which can obscure or defeat the very intentions of the composer.
>
>Mark Gould
>
>
>
>You do not need web access to participate. You may subscribe through
>email. Send an empty email to one of these addresses:
> tuning-subscribe@yahoogroups.com - join the tuning group.
> tuning-unsubscribe@yahoogroups.com - unsubscribe from the tuning group.
> tuning-nomail@yahoogroups.com - put your email message delivery on hold
for the tuning group.
> tuning-digest@yahoogroups.com - change your subscription to daily digest
mode.
> tuning-normal@yahoogroups.com - change your subscription to individual
emails.
> tuning-help@yahoogroups.com - receive general help information.
>
>
>Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
>
>
>
>