User:Zeta Function/Contextual Xenharmonics: Difference between revisions

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{{mbox|type=content|text=This page is an archive of an old page of an idiosyncratic theory from user k9assassin who wrote it in the former Wikispaces site. It is being archived here to preserve history and because the theory's ideas are usable in principle, even if they need to be reworked. I might work on this page from time to time to improve the theory, but this page should be considered to be a perpetual draft.|icon=Icon-Todo.png}}

'''Contextual Xenharmonics''' is a theory that seeks to explain how we hear differently as individuals, why things sound the way they do to some and not others, and how to manipulate these experiences into what we want to tap into a new potential as xen-musicians.

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== Elements ==

These are the things like musical progressions, ~~scales~~, ~~chords~~ and tuning systems.

These are the things like musical progressions, [[scale]]s, [[chord]]s and [[Tuning|tuning systems]].

== Portals ==

Portals are musical situations where you end up in a place different than expected or compared to another system. Usually associated with comma-pumps. For example, 15 edo's chain of fifths contains a portal somewhere between the third and fourth fifth in the cycle. ~~EXPLAIN MORE???~~

Portals are musical situations where you end up in a place different than expected or compared to another system. Usually associated with [[Comma pump|comma-pumps]]. For example, [[15edo|15 edo]]'s chain of fifths contains a portal somewhere between the third and fourth fifth in the cycle, because the result of stacking four fifths in 15edo produces a categorical error compared to standard diatonic theory.{{clarify}}

== Breaks ==

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'''Duality:''' Two types of something exist sounding like it belongs to the same context. Such as major and minor thirds.

'''Triality:''' Three types of something exist in the same class.

etc...

Fringe Region - An area of categories where adjacent ones blend together. For example 13/10.

Fringe Region - An area of categories where adjacent ones blend together. For example [[13/10]].

'''Anchors:''' Representative, relatively simple intervals of a category, which are often JI intervals but not always. For example, [[3/2]] is an anchor of the perfect fifth region, and [[5/4]] is an anchor of the major third region. Anchors can vary in their pull and recognizability. For example, [[6/5]] is more recognizable than [[7/6]] as an anchor of the minor third region, which in turn is more recognizable than [[13/11]] as an anchor. Note however that these secondary anchors can still be strong anchors of adjacent or subregions, with [[7/6]] for example acting as an anchor of the subminor region. A major goal of RTT is to ensure that these anchor intervals are in tune as possible while still maintaining a simple lattice tuning system. Thus, anchors in JI can be transformed to RTT or edo anchors after being mapped into these tuning systems, albeit with a somewhat vague limit on how much they can be detuned. In this way, this concept helps connect subjective and objective parts of xenharmonic music theory.

== Projection ==

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TYPES:

'''Squash and Stretch''': This is the feeling that a familiar element has been perceivably stretched or compressed yet still seems to work regardless of how good or bad it sounds. Examples are 13 EDO which seems to exhibit a fair amount of squash and stretch despite it's fun house familiarity to 12 edo. '''Oblique Squash and Stretch''' on the other hand is like Superpyth where the large interval is stretched and the small ones squashed.

'''[[Stretched tuning|Squash and Stretch]]''': This is the feeling that a familiar element has been perceivably stretched or compressed yet still seems to work regardless of how good or bad it sounds. Examples are [[13edo|13 EDO]] which seems to exhibit a fair amount of squash and stretch despite it's fun house familiarity to [[12edo|12 edo]]. '''Oblique Squash and Stretch''' on the other hand is like [[Superpyth]] where the large interval is stretched and the small ones squashed.

'''Melodic Disjunct:''' The effect where a melodic element is distorted in a non uniform way such that some sounds become narrower and some wider usually without pattern.

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'''Melodic Overshoot/Undershoot''': A melodic element partially works with some pieces missing something expected but landing close to it.

'''Timbral Roughness:''' Element works movement wise but is rough in it's timbral quality. For example, using 720 cent as a 3/2 evokes a roughness yet feasibly works in context where it is established as such.

'''Timbral Roughness:''' Element works movement wise but is rough in it's timbral quality. For example, using 720 cent as a [[3/2]] evokes a roughness yet feasibly works in context where it is established as such.

'''Musical Ambiguity:''' A particular element seems to work in a given context but the brain interprets it as also working as something else simultaneously forming a confusion.

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+{{mbox|type=content|text=This page is an archive of an old page of an idiosyncratic theory from user k9assassin who wrote it in the former Wikispaces site. It is being archived here to preserve history and because the theory's ideas are usable in principle, even if they need to be reworked. I might work on this page from time to time to improve the theory, but this page should be considered to be a perpetual draft.|icon=Icon-Todo.png}}
 '''Contextual Xenharmonics''' is a theory that seeks to explain how we hear differently as individuals, why things sound the way they do to some and not others, and how to manipulate these experiences into what we want to tap into a new potential as xen-musicians.
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 == Elements ==
-These are the things like musical progressions, scales, chords and tuning systems.
+These are the things like musical progressions, [[scale]]s, [[chord]]s and [[Tuning|tuning systems]].
 == Portals ==
-Portals are musical situations where you end up in a place different than expected or compared to another system. Usually associated with comma-pumps. For example, 15 edo's chain of fifths contains a portal somewhere between the third and fourth fifth in the cycle. EXPLAIN MORE???
+Portals are musical situations where you end up in a place different than expected or compared to another system. Usually associated with [[Comma pump|comma-pumps]]. For example, [[15edo|15 edo]]'s chain of fifths contains a portal somewhere between the third and fourth fifth in the cycle, because the result of stacking four fifths in 15edo produces a categorical error compared to standard diatonic theory.{{clarify}}
 == Breaks ==
@@ Line 29: / Line 30: @@
 '''Duality:''' Two types of something exist sounding like it belongs to the same context. Such as major and minor thirds.
 '''Triality:''' Three types of something exist in the same class.
 etc...
-Fringe Region - An area of categories where adjacent ones blend together. For example 13/10.
+Fringe Region - An area of categories where adjacent ones blend together. For example [[13/10]].
+'''Anchors:''' Representative, relatively simple intervals of a category, which are often JI intervals but not always. For example, [[3/2]] is an anchor of the perfect fifth region, and [[5/4]] is an anchor of the major third region. Anchors can vary in their pull and recognizability. For example, [[6/5]] is more recognizable than [[7/6]] as an anchor of the minor third region, which in turn is more recognizable than [[13/11]] as an anchor. Note however that these secondary anchors can still be strong anchors of adjacent or subregions, with [[7/6]] for example acting as an anchor of the subminor region. A major goal of RTT is to ensure that these anchor intervals are in tune as possible while still maintaining a simple lattice tuning system. Thus, anchors in JI can be transformed to RTT or edo anchors after being mapped into these tuning systems, albeit with a somewhat vague limit on how much they can be detuned. In this way, this concept helps connect subjective and objective parts of xenharmonic music theory.
 == Projection ==
@@ Line 49: / Line 52: @@
 TYPES:
-'''Squash and Stretch''': This is the feeling that a familiar element has been perceivably stretched or compressed yet still seems to work regardless of how good or bad it sounds. Examples are 13 EDO which seems to exhibit a fair amount of squash and stretch despite it's fun house familiarity to 12 edo. '''Oblique Squash and Stretch''' on the other hand is like Superpyth where the large interval is stretched and the small ones squashed.
+'''[[Stretched tuning|Squash and Stretch]]''': This is the feeling that a familiar element has been perceivably stretched or compressed yet still seems to work regardless of how good or bad it sounds. Examples are [[13edo|13 EDO]] which seems to exhibit a fair amount of squash and stretch despite it's fun house familiarity to [[12edo|12 edo]]. '''Oblique Squash and Stretch''' on the other hand is like [[Superpyth]] where the large interval is stretched and the small ones squashed.
 '''Melodic Disjunct:''' The effect where a melodic element is distorted in a non uniform way such that some sounds become narrower and some wider usually without pattern.
@@ Line 57: / Line 60: @@
 '''Melodic Overshoot/Undershoot''': A melodic element partially works with some pieces missing something expected but landing close to it.
-'''Timbral Roughness:''' Element works movement wise but is rough in it's timbral quality. For example, using 720 cent as a 3/2 evokes a roughness yet feasibly works in context where it is established as such.
+'''Timbral Roughness:''' Element works movement wise but is rough in it's timbral quality. For example, using 720 cent as a [[3/2]] evokes a roughness yet feasibly works in context where it is established as such.
 '''Musical Ambiguity:''' A particular element seems to work in a given context but the brain interprets it as also working as something else simultaneously forming a confusion.