"seasickness" contradiction

I think what I meant by this term is that the music sounds "wrong"
(unfamiliar) and yet "right" at the same time (i.e. it doesn't just sound
"out of tune"--you can hear a logic to the tuning.) So it does involve a
contradiction of sorts.

I think David Doty (in JIP) called some of the upper overtones
"unbearably harsh"; yet when you hear them in the right context, they
make sense. So you're kind of hearing the "harshness", but in a context
where they slide magically into place.

That's the [positive] meaning I intended for "seasickness".

It's probably a lot stronger with more "xenharmonic" materials,
than it is for, say, a standard tonal piece, where you're dealing with
5/4s, 3/2s, and compounds for the most part.

--- In tuning@y..., Christopher Bailey <cb202@c...> wrote:

/tuning/topicId_40989.html#40989

> I think what I meant by this term is that the music
sounds "wrong" (unfamiliar) and yet "right" at the same time (i.e. it
doesn't just sound "out of tune"--you can hear a logic to the
tuning.) So it does involve a contradiction of sorts.
>
>

***Personally, I feel this is a very important distinction and I
believe it is a *lot* easier to perceive if a new tuning is integral
to some kind of design rather than some kind of "error" than one
might suspect...

J. Pehrson