--- In email@example.com
, Afmmjr@... wrote:
> Learned so much the other night reading my own archive material. >Thanks
> to Kyle Gann and Jon Catler, I now understand that La Monte >Young's
> "Well-Tuned Piano" is in pure overtone tuning....no undertone >series.
> connect that info to the famous harmonic clouds that are produced >by La Monte's
> 6-hour composition. There is loss of reception when the overtones >are
> muddied by just intonation undertone intervals (such as the 4/3 or >the 6/5).
Harmonic/inharmonic or over/undertone are, once we've lifted off from the field of paper, false dichotomies. Even in monophony, if you move from 3/2 to 2/1, you've just played a 4/3.
Whence this silly bifurcation? The most likely source is sadly obvious. The cultural phenomenon of a dichotomy of major and minor is so strong that it was only natural that in days of greater innocence (giving great benefit of doubt to motivations) theorists should seek its source in "nature". So Riemann proposed a dualism, Partch gave it a Hubbardesque moniker, and here we in the 2011 still wasting our time going on as if we've got two distinct things where in actual practice we really have aspects of one.
> Doing is believing.
>So, need a bit more time with the paper. It should be
> obvious by now that some things need the proper time to mature, >and that
> this medium sucks when trying to get across profound and complex >music
> principles. Love the challenge to verbalize the ineffable, don't >you?
Effing the ineffable is a pleasure, but then again effing in general is pleasurable.
> Lobawad: It would be great to read your paper- as it is, I can't, >for
> example, tell
> what's relative and what's fixed, which makes for some tremendous
> differences of
> Johnny: The tuning is fixed, with A=440.
So you mean octaves of harmonics of A-440, for surely 440Hz isn't the lowest pitch you're playing on the bassoon.
-Cuthbert Lobawad, Lieutenant Janitor of the Mord-Sith