Pedagogy questions: Difference between revisions

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This is a first draft. If you think I'm wrong, edit the page to say why.

Learning a microtonal system is harder than 12-equal where it's more complex and the harmonic context is not intuitively apparent. Which is most of the time (and sometimes so by definiton).

Learning a microtonal system is harder than [[12-equal]] where it's more [[Complexity|complex]] and the harmonic context is not intuitively apparent. Which is most of the time (and sometimes so by definiton).

However, systems that are microtonal relative to 12-equal may be easier to learn in several ways:

* The have fewer notes. For example, slendro, pelog, various other ~~diatonics~~.

* The have fewer notes. For example, [[slendro]], [[pelog]], various other [[diatonic]]s.

* They are closer to natural harmonies: just intonation, microtemperament, and equivalents in alternative timbres.

* They are closer to natural harmonies: [[just intonation]], [[microtemperament]], and [[Timbral tuning|equivalents]] in alternative timbres.

* They resonate more with the subject's culture than the western chromatic; depends on context, and becoming less likely.

* They resonate more with the subject's [[Approaches to musical tuning|culture]] than the western chromatic; depends on context, and becoming less likely.

=== When does experience in 12 help in learning non-12? When does it hinder? ===

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Mostly it depends on the nature of the experience, and how non-12 is being learned. Making this a useful topic for microtonal pedagogy of course.

If the musician has experience of tonal music with correct spelling, a transition to extended [[Meantone|Meantone]] is natural. Early pieces should enforce the 5-limit diatonic framework and move gradually to more remote notes and harmonies. A theoretical knowledge of harmony also helps because many of those rules were laid down in a meantone context.

If the musician has experience of tonal music with correct spelling, a transition to extended [[Meantone|Meantone]] is natural. Early pieces should enforce the [[5-limit]] diatonic framework and move gradually to more [[7-limit|remote]] notes and harmonies. A theoretical knowledge of harmony also helps because many of those rules were laid down in a meantone context.

If the musician thinks in terms of enharmonic equivalences, a procedure of dividing the equal tempered semitone is most productive. This leads first to quartertones ([[24edo|24edo]]), but also to [[72edo|72edo]], where they can learn 11-limit harmonies.

If the musician thinks in terms of [[enharmonic]] equivalences, a procedure of dividing the equal tempered semitone is most productive. This leads first to quartertones ([[24edo|24edo]]), but also to [[72edo|72edo]], where they can learn [[11-limit]] harmonies.

Musicians with a Pythagorean mindset (most likely string players) may take to schismatic temperament (see [[Regular_Temperaments|Regular Temperaments]]) or divisions of the semitone (above). They will have much more trouble with extended meantone (also above).

Musicians with a [[Pythagorean]] mindset (most likely string players) may take to [[schismatic]] temperament (see [[Regular_Temperaments|Regular Temperaments]]) or divisions of the semitone (above). They will have much more trouble with extended meantone (also above).

Experience may hinder when it conflicts with the new system being learned. Paradoxically, the most accomplished musicians will have the most difficulty because their habits are the most ingrained.

@@ Line 10: / Line 10: @@
 This is a first draft. If you think I'm wrong, edit the page to say why.
-Learning a microtonal system is harder than 12-equal where it's more complex and the harmonic context is not intuitively apparent. Which is most of the time (and sometimes so by definiton).
+Learning a microtonal system is harder than [[12-equal]] where it's more [[Complexity|complex]] and the harmonic context is not intuitively apparent. Which is most of the time (and sometimes so by definiton).
 However, systems that are microtonal relative to 12-equal may be easier to learn in several ways:
-* The have fewer notes. For example, slendro, pelog, various other diatonics.
+* The have fewer notes. For example, [[slendro]], [[pelog]], various other [[diatonic]]s.
-* They are closer to natural harmonies: just intonation, microtemperament, and equivalents in alternative timbres.
+* They are closer to natural harmonies: [[just intonation]], [[microtemperament]], and [[Timbral tuning|equivalents]] in alternative timbres.
-* They resonate more with the subject's culture than the western chromatic; depends on context, and becoming less likely.
+* They resonate more with the subject's [[Approaches to musical tuning|culture]] than the western chromatic; depends on context, and becoming less likely.
 === When does experience in 12 help in learning non-12? When does it hinder? ===
@@ Line 24: / Line 24: @@
 Mostly it depends on the nature of the experience, and how non-12 is being learned. Making this a useful topic for microtonal pedagogy of course.
-If the musician has experience of tonal music with correct spelling, a transition to extended [[Meantone|Meantone]] is natural. Early pieces should enforce the 5-limit diatonic framework and move gradually to more remote notes and harmonies. A theoretical knowledge of harmony also helps because many of those rules were laid down in a meantone context.
+If the musician has experience of tonal music with correct spelling, a transition to extended [[Meantone|Meantone]] is natural. Early pieces should enforce the [[5-limit]] diatonic framework and move gradually to more [[7-limit|remote]] notes and harmonies. A theoretical knowledge of harmony also helps because many of those rules were laid down in a meantone context.
-If the musician thinks in terms of enharmonic equivalences, a procedure of dividing the equal tempered semitone is most productive. This leads first to quartertones ([[24edo|24edo]]), but also to [[72edo|72edo]], where they can learn 11-limit harmonies.
+If the musician thinks in terms of [[enharmonic]] equivalences, a procedure of dividing the equal tempered semitone is most productive. This leads first to quartertones ([[24edo|24edo]]), but also to [[72edo|72edo]], where they can learn [[11-limit]] harmonies.
-Musicians with a Pythagorean mindset (most likely string players) may take to schismatic temperament (see [[Regular_Temperaments|Regular Temperaments]]) or divisions of the semitone (above). They will have much more trouble with extended meantone (also above).
+Musicians with a [[Pythagorean]] mindset (most likely string players) may take to [[schismatic]] temperament (see [[Regular_Temperaments|Regular Temperaments]]) or divisions of the semitone (above). They will have much more trouble with extended meantone (also above).
 Experience may hinder when it conflicts with the new system being learned. Paradoxically, the most accomplished musicians will have the most difficulty because their habits are the most ingrained.