AW.: RE: RE: RE: RE: Harmonic entropy

In einer Nachricht vom 11/17/99 10:45:25 PM (MEZ) Mitteleurop�ische
Zeitschreibt PErlich@Acadian-Asset.com:

<< and
>(b) the distribution of prime factors in any given octave will be biased
>towards the lower factors.

I don't know what you mean. Prime factors have nothing to do with either the
premises or the results of the harmonic entropy model.
>>
Sorry - just strike the word prime. The fact is plain: one half of the terms
will be factor of two, one third will be factors of three, etc. There's just
a built-in-bias to lower factors.

In einer Nachricht vom 11/17/99 10:45:25 PM (MEZ) Mitteleurop�ische
Zeitschreibt PErlich@Acadian-Asset.com:

<<
If that context is a melodic scale, I object to Barlow's view of the scale
as implying a single, immutable set of ratios. If not, can you explain?
>>

No. He doesn't imply that at all. I think you would profit from reading him
directly -- the issue of Feedback Papers with his book is available from Frog
Peak. It's a stunning, entertaining read from a gifted composer at work.

In einer Nachricht vom 11/17/99 10:45:25 PM (MEZ) Mitteleurop�ische
Zeitschreibt PErlich@Acadian-Asset.com:

<< For example, with three sine waves at
1100Hz, 1300Hz, and 1500Hz, subjects report agreement between the perceived
fundamental and a probe tone at both 217 Hz (suggesting a 5:6:7
intepretation) and at 186 Hz (suggesting a 6:7:8 interpretation) but not at
other pitches. >>

But then, with three harmonic timbres, the ambiguity disappears. (I imagine
one could make a lovely piece of orchestration by taking advantage of this
effect -- a chord of flutes with one fundamental supported by a bass flute,
say, and then a chord of oboes with the other...).