Margo Schulter's tour of MI/JI cadences

Back in November last year Margo Schulter put together a wonderful
sampler of mp3 cadences which involve chords containing approximate MI
(metastably intoned) intervals followed by approximate JI chords, as
rendered in her ZEST-24 scale.

I expect this would be new to you, Mike Battaglia, and maybe some
others missed it at the time. I would have posted about it sooner, but
the MP3's were no longer available. So I emailed Margo and she has
just informed me that her ISP has sorted out the problem.

You can enjoy them, and Margo's explanations of them, here
/tuning/topicId_73833.html#74319

It would be interesting to hear them tuned more precisely to the
simple noble and simple rational intervals, if someone has the
wherewithall.

Margo also emailed: "Since I love grayscale art, "gray/grey" would be
fine -- but for a more technical term, I might take MI, which would
nicely express my intent with the examples we're discussing. The
question of how to define NI proper is an interesting one, but I'd
agree that MI would be more appropriate here."

-- Dave Keenan

Interesting. I get the concept, it's just like I imagined it to be,
really. It's why a dominant 7 chord resolves to 1 so nicely - except
with each of these examples, the feel of the actual 1000 dominant 7
"noble" (or close enough) interval is extended to other intervals,
like the 422 cent third and such.

It's interesting to note that the discussions that take place on this
forum often have some deeper meaning behind the surface on them. For
example, the discussion a few days ago about gestalt psychology
started touching on the concept of tabula rasa - whether some things
that we assume are hard-wired into the brain are actually learned.
This discussion, on the other hand, seems to be about "what exactly is
consonance and what exactly is dissonance, anyway?"

For what it's worth (I refuse to type fwiw, fwiw) one of my professors
at my school in Music Engineering, Colby Leider (who's huge into
microtonal composition) just got his Ph. D from Stanford in Music
Composition. His dissertation was on the nature of dissonance, and if
it might shed some useful light on this whole discussion, I could ask
him to link us to it online or something.

-Mike

On Tue, Jun 17, 2008 at 10:56 PM, Dave Keenan <d.keenan@...> wrote:
> Back in November last year Margo Schulter put together a wonderful
> sampler of mp3 cadences which involve chords containing approximate MI
> (metastably intoned) intervals followed by approximate JI chords, as
> rendered in her ZEST-24 scale.
>
> I expect this would be new to you, Mike Battaglia, and maybe some
> others missed it at the time. I would have posted about it sooner, but
> the MP3's were no longer available. So I emailed Margo and she has
> just informed me that her ISP has sorted out the problem.
>
> You can enjoy them, and Margo's explanations of them, here
> /tuning/topicId_73833.html#74319
>
> It would be interesting to hear them tuned more precisely to the
> simple noble and simple rational intervals, if someone has the
> wherewithall.
>
> Margo also emailed: "Since I love grayscale art, "gray/grey" would be
> fine -- but for a more technical term, I might take MI, which would
> nicely express my intent with the examples we're discussing. The
> question of how to define NI proper is an interesting one, but I'd
> agree that MI would be more appropriate here."
>
> -- Dave Keenan
>
>

--- In tuning@yahoogroups.com, "Mike Battaglia" <battaglia01@...> wrote:
>
> Interesting. I get the concept, it's just like I imagined it to be,
> really. It's why a dominant 7 chord resolves to 1 so nicely - except
> with each of these examples, the feel of the actual 1000 dominant 7
> "noble" (or close enough) interval is extended to other intervals,
> like the 422 cent third and such.
>
> It's interesting to note that the discussions that take place on this
> forum often have some deeper meaning behind the surface on them. For
> example, the discussion a few days ago about gestalt psychology
> started touching on the concept of tabula rasa - whether some things
> that we assume are hard-wired into the brain are actually learned.
> This discussion, on the other hand, seems to be about "what exactly is
> consonance and what exactly is dissonance, anyway?"
>
> For what it's worth (I refuse to type fwiw, fwiw) one of my professors
> at my school in Music Engineering, Colby Leider (who's huge into
> microtonal composition) just got his Ph. D from Stanford in Music
> Composition. His dissertation was on the nature of dissonance, and if
> it might shed some useful light on this whole discussion, I could ask
> him to link us to it online or something.

Yes please.