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| <h2>IMPORTED REVISION FROM WIKISPACES</h2>
| | {{Redirect|Igliashon|the scale|Igliashon (scale)}} |
| This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
| | '''Deja Igliashon'''<ref>[https://cryptic-ruse.bandcamp.com/ Music | Cryptic Ruse]</ref>, formerly known as '''Igliashon Jones'''<ref>[https://ghostfishbrewing.com/2014/01/03/interview-with-a-founder-igliashon-jones/ "Interview with a founder: Igliashon Jones" on Ghostfish Brewing Company]</ref>, is a guitarist and composer living in Portland, Oregon. Born in 1982 in San Mateo, California, they have been studying microtonality since 2003. They have released numerous albums of microtonal music in a wide variety of tunings, under several aliases, mostly equal divisions of the octave. They have been an active (if controversial) participant in the online xenharmonic community for many years, dating back to the Alternate Tunings Yahoo group (aka "the Tuning List"). They collaborated with and were a member of the progressive rock band [[The Mercury Tree]]. |
| : This revision was by author [[User:igliashon|igliashon]] and made on <tt>2013-04-20 14:48:19 UTC</tt>.<br>
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| : The original revision id was <tt>424899044</tt>.<br> | |
| : The revision comment was: <tt></tt><br>
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| The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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| <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">Igliashon Jones is a guitarist and "composer" living in Oakland, California. He no longer identifies with microtonalism or the Xenharmonic movement, but formerly was a very active participant in it. He recorded several albums of microtonal music under the alias "City of the Asleep", but ultimately removed them from his websites after deciding they were not consistent with his aesthetic goals and standards as a musician. They may still be available somewhere on the internet. Despite his public disavowal of microtonality and his return to focusing on 12edo composition, he continues to occasionally write and record music in one alternative tuning: 15edo.
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| ==Anti-Microtonality== | | == Approach to xenharmonics == |
| After many years participating in online discussion forums like the Yahoo! Tuning List, nonoctave.com, and the Xenharmonic Alliance, Igliashon reached the conclusion that microtonalism as a philosophy is deeply flawed. His view is that microtonalism leads to an obsessive focus on a single aspect of music--the intonation of pitches--and the neglect of other aspects, and conversely a sort of attention deficit disorder in tuning exploration, wherein composers and theorists are constantly seeking new tunings, rather than deeply exploring a single one (or select few). This makes inter-musician cooperation difficult, as few microtonalists use the same tunings as each other, and also ensures that it is impossible to attain a deep understanding of what any new tuning actually offers in terms of compositional resources.
| | While Igliashon favors equal divisions of the octave, they are an enthusiast of all forms of microtonal theory, including [[regular temperament theory]] and [[just intonation]]. They subscribe to the belief that there is no single best tuning or approach to tuning, and encourages collaboration between those with diverse views and backgrounds. Igliashon is primarily a guitar player who dabbles in composition for electronic media. They currently own guitars in [[13edo]], [[14edo]], [[15edo]], [[17edo]], [[21edo]], and [[23edo]]. They have owned guitars in [[16edo]], [[18edo]], [[19edo]], [[20edo]], [[22edo]], and [[31edo]] in the past, and have recorded and released music using each and every one. |
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| It is Igliashon's view that microtonalism--which he defines as "the belief that intonation is of greater importance than any other compositional resource"--is nothing more than an intermediary step between ignorance of alternative tunings and making a conscious and informed commitment to a new intonational system that meets one's personal musical desiderata. What he believes is necessary is for composers to "exit" the movement by completing the exploratory phase and coming to a conclusion about what does and does not work for them, and then to focus in depth on developing a cohesive practical and compositional approach to the new tuning (or tunings) of their choice. At this point, he argues, it becomes possible to cease treating the tuning as the primary compositional focus--to "compose //for// the tuning"--and to compose holistically again, as one once did when still ignorant of intonational alternatives--to "compose //in// the tuning". The ideal point to reach with a tuning, in Igliashon's view, is the point where the features of the tuning can be taken for granted, and manipulated as effortlessly as one speak's one's native language. Microtonalism as a philosophy makes this point impossible to reach, because the features of a tuning can never be taken for granted (since they are the primary focus).
| | As a theorist, Igliashon's main area of interest has been on [[JI subgroup]]s of the [[17-limit]], and temperaments thereof, as applied to equal divisions of the octave below 24edo. Their research has focused especially on EDOs normally considered to be too dissonant to be useful for harmonic music, such as [[8edo]], [[10edo]], 13edo, and 23edo. By applying the principles of regularly-tempered subgroup harmony, Igliashon has found consonant triads, tetrads, and pentads in all of the EDOs below 24, and has contributed much to the wiki articles on those tunings. |
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| ==15edo== | | == Aliases == |
| After exploring every equal temperament between 5 and 31 for many years, Igliashon settled on 15edo as having the optimal combination of practicality, consonance, dissonance, familiar resources, and novel resources.
| | Active aliases: |
| || edo || 5 || 7 || 8 || 9 || 10 || 11 || 13 || 14 || 15 || 16 || 17 || 18 || 19 || 20 || 21 || 22 || 23 || 24 || 25 || 26 || 27 || 28 || 29 || 30 || 31 ||
| | * Cryptic Ruse - mostly xenharmonic progressive instrumental metal and drone metal |
| || Variety of Consonant Harmony* || || || || || || || || || x || || || || x || x || x || x || x || x || x || x || x || x || x || x || x ||
| | * City of the Asleep - mostly xenharmonic instrumental post rock, surf rock, electronica, glitch, and experimental progressive rock |
| || Variety of Good Scales || || || || || || || || || x || x || x || || || || || x || x || x || || x || x || x || x || x || x ||
| | * Pixel Archipelago - xenharmonic ambient music |
| || Enforces Melodic Novelty* || x || x || x || x || x || || || || x || || || || || || || || || || || || || || || || ||
| | * Perplextus Joans - non-microtonal post-punk and post-industrial music, with vocals |
| || No "Microtones" || x || x || x || x || x || x || x || x || x || x || x || x || || || || || || || || || || || || || ||
| |
| || Easy to Exploit on Guitar* || x || x || x || x || x || x || x || x || x || || x || || x || x || || || || x || || || || || || || ||
| |
| || Easy to Avoid Discordance || x || x || || || x || || || || x || || x || || || || || || || || || || || || || || ||
| |
| *For this criterion, I'm awarding an x to any tuning that approximates at least the 5-limit tonality diamond with a max error of 20 cents. | |
| For this criterion, I'm awarding an x to any tuning wherein there are at least four rank-2 scale systems that are very well-supplied with consonant chords and do not have microtonal step-sizes (narrower than ~66.67 cents).
| |
| *For this criterion, I'm awarding an x to any tuning that has no interval between 233.33 and 166.67 cents (i.e., no recognizable whole-tones).
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| For this criterion, I'm awarding an x to any tuning that has no steps smaller than 66.67 cents, i.e. where its smallest step is still recognizable as a semitone.
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| *For this criterion, I'm awarding an x to any tuning that I've subjectively found to be ergonomic on guitar, and whose novel scalar resources are easy to learn and map out on the fretboard. | |
| For this criterion, I'm awarding an x to any tuning where I've subjectively found it easy to compose melodies over progressions of concordant chords that make use of non-chord tones, but which do not cause an excessive increase in discordance when doing so.</pre></div>
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| <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>IgliashonJones</title></head><body>Igliashon Jones is a guitarist and &quot;composer&quot; living in Oakland, California. He no longer identifies with microtonalism or the Xenharmonic movement, but formerly was a very active participant in it. He recorded several albums of microtonal music under the alias &quot;City of the Asleep&quot;, but ultimately removed them from his websites after deciding they were not consistent with his aesthetic goals and standards as a musician. They may still be available somewhere on the internet. Despite his public disavowal of microtonality and his return to focusing on 12edo composition, he continues to occasionally write and record music in one alternative tuning: 15edo.<br />
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| <br />
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| <!-- ws:start:WikiTextHeadingRule:0:&lt;h2&gt; --><h2 id="toc0"><a name="x-Anti-Microtonality"></a><!-- ws:end:WikiTextHeadingRule:0 -->Anti-Microtonality</h2>
| |
| After many years participating in online discussion forums like the Yahoo! Tuning List, nonoctave.com, and the Xenharmonic Alliance, Igliashon reached the conclusion that microtonalism as a philosophy is deeply flawed. His view is that microtonalism leads to an obsessive focus on a single aspect of music--the intonation of pitches--and the neglect of other aspects, and conversely a sort of attention deficit disorder in tuning exploration, wherein composers and theorists are constantly seeking new tunings, rather than deeply exploring a single one (or select few). This makes inter-musician cooperation difficult, as few microtonalists use the same tunings as each other, and also ensures that it is impossible to attain a deep understanding of what any new tuning actually offers in terms of compositional resources.<br />
| |
| <br />
| |
| It is Igliashon's view that microtonalism--which he defines as &quot;the belief that intonation is of greater importance than any other compositional resource&quot;--is nothing more than an intermediary step between ignorance of alternative tunings and making a conscious and informed commitment to a new intonational system that meets one's personal musical desiderata. What he believes is necessary is for composers to &quot;exit&quot; the movement by completing the exploratory phase and coming to a conclusion about what does and does not work for them, and then to focus in depth on developing a cohesive practical and compositional approach to the new tuning (or tunings) of their choice. At this point, he argues, it becomes possible to cease treating the tuning as the primary compositional focus--to &quot;compose <em>for</em> the tuning&quot;--and to compose holistically again, as one once did when still ignorant of intonational alternatives--to &quot;compose <em>in</em> the tuning&quot;. The ideal point to reach with a tuning, in Igliashon's view, is the point where the features of the tuning can be taken for granted, and manipulated as effortlessly as one speak's one's native language. Microtonalism as a philosophy makes this point impossible to reach, because the features of a tuning can never be taken for granted (since they are the primary focus).<br />
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| <br />
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| <!-- ws:start:WikiTextHeadingRule:2:&lt;h2&gt; --><h2 id="toc1"><a name="x-15edo"></a><!-- ws:end:WikiTextHeadingRule:2 -->15edo</h2>
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| After exploring every equal temperament between 5 and 31 for many years, Igliashon settled on 15edo as having the optimal combination of practicality, consonance, dissonance, familiar resources, and novel resources.<br />
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| | == Microtonal discography == |
| | As Cryptic Ruse: |
| | * [https://cryptic-ruse.bandcamp.com/album/a-year-without-breath ''A Year Without Breath''] (2022) |
| | * [https://cryptic-ruse.bandcamp.com/album/our-crumbling-psychic-infrastructure ''Our Crumbling Psychic Infrastructure''] (2021) |
| | * [https://cryptic-ruse.bandcamp.com/album/unfertile ''UNFERTILE''] (2020) - math/doom metal in 23edo |
| | * [https://cryptic-ruse.bandcamp.com/album/asmr ''ASMR'']{{dead link}} - drone/doom/post-metal in 23edo, 15edo, and 13edo |
| | * [https://cryptic-ruse.bandcamp.com/album/dual-spaces-exercises-diagrams ''Dual Spaces: Exercises & Diagrams''] (2018) |
| | * [https://cryptic-ruse.bandcamp.com/album/pineal-algebra-remaster ''Pineal Algebra''] (2017) - instrumental progressive metal in 14edo, 15edo, 17edo, and 23edo |
| | * [https://cryptic-ruse.bandcamp.com/album/wasting-thirsting ''Wasting and Thirsting'']{{dead link}} - drone metal in 14edo, 17edo, and 23edo |
| | * [https://cryptic-ruse.bandcamp.com/album/chains-of-smoke ''Chains of Smoke''] (2014) - instrumental progressive metal in 13edo, 15edo, and 23edo |
| | * [https://cryptic-ruse.bandcamp.com/album/misc-2003-2014 ''Misc 2003-2014''] (2017) - instrumental progressive metal in 10edo, 15edo, 22edo, and 31edo |
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| <table class="wiki_table">
| | As City of the Asleep: |
| <tr>
| | * [https://cityoftheasleep.bandcamp.com/album/habafropzipulops ''HABAFROPZIPULOPS''] (2019) |
| <td>edo<br />
| | * [https://cityoftheasleep.bandcamp.com/album/an-amputated-elliptic-knob-of-the-cryptocurve-regenerates ''An Amputated Elliptic Knob of the Cryptocurve Regenerates''] (2019) |
| </td>
| | * [https://cityoftheasleep.bandcamp.com/album/cloiids ''CLOIIDS'']{{dead link}} - instrumental progressive post rock recorded between 2010 and 2016 in {{EDOs|legend=1| 8, 10, 11, 13, 14, 23, 19, 23, 26, 29 }} |
| <td>5<br />
| | * [https://cityoftheasleep.bandcamp.com/album/transfinity-2 ''Transfinity''] (2012) - instrumental progressive post rock/experimental/kraut rock in 23edo |
| </td>
| | * [https://cityoftheasleep.bandcamp.com/album/transcendissonance ''Transcendissonance''] (2011) - electronica in a variety of maximally-discordant tunings |
| <td>7<br />
| | * [https://spectropolrecords.bandcamp.com/album/winter-in-tumultua ''Winter in Tumultua''] (2012) - experimental post rock/ambient/electronica in 17edo |
| </td>
| | * [https://cityoftheasleep.bandcamp.com/album/open-space ''Open Space'']{{dead link}} - post rock/surf rock in 8edo, 9edo, 10edo, 16edo, 17edo,18edo, and 20edo |
| <td>8<br />
| | * [https://cityoftheasleep.bandcamp.com/album/map-of-an-internal-landscape-reissue ''Map of an Internal Landscape''] (2007) - retro electronica in edos 9 through 28, omitting 12 and 24. |
| </td>
| | * [https://cityoftheasleep.bandcamp.com/album/early-microtonal-works ''Early Microtonal Works''] (2006) - instrumental rock, post rock, and experimental music in 17edo, 22edo, 31edo, and 13-limit JI |
| <td>9<br />
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| </td>
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| <td>10<br />
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| <td>11<br />
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| <td>13<br />
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| <td>14<br />
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| <td>15<br />
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| <td>16<br />
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| <td>17<br />
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| <td>19<br />
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| <td>20<br />
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| <td>24<br />
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| <td>30<br />
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| <td>31<br />
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| <td>Variety of Consonant Harmony*<br />
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| <td>Variety of Good Scales<br />
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| <td>Enforces Melodic Novelty*<br />
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| <td>Easy to Exploit on Guitar*<br />
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| <td>x<br />
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| </td>
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| <td>x<br />
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| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| <td>x<br />
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| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| <td>x<br />
| |
| </td>
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| <td><br />
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| </td>
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| <td>x<br />
| |
| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| <td><br />
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| </td>
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| </tr>
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| </table>
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|
| *For this criterion, I'm awarding an x to any tuning that approximates at least the 5-limit tonality diamond with a max error of 20 cents.<br /> | | As Pixel Archipelago: |
| For this criterion, I'm awarding an x to any tuning wherein there are at least four rank-2 scale systems that are very well-supplied with consonant chords and do not have microtonal step-sizes (narrower than ~66.67 cents).<br />
| | * [https://pixelarchipelago.bandcamp.com/album/music-for-mutantis ''Music for Mutantis''] (2021) |
| *For this criterion, I'm awarding an x to any tuning that has no interval between 233.33 and 166.67 cents (i.e., no recognizable whole-tones).<br /> | | * [https://pixelarchipelago.bandcamp.com/album/intervallic-prism ''Intervallic Prism''] (2020) |
| For this criterion, I'm awarding an x to any tuning that has no steps smaller than 66.67 cents, i.e. where its smallest step is still recognizable as a semitone.<br />
| | * [https://pixelarchipelago.bandcamp.com/album/flower-water ''Flower and Water''] (2017) - ambient music in various tunings, including 14edo and 72edo; some 12edo as well |
| *For this criterion, I'm awarding an x to any tuning that I've subjectively found to be ergonomic on guitar, and whose novel scalar resources are easy to learn and map out on the fretboard.<br /> | | * [https://pixelarchipelago.bandcamp.com/album/anhedonia ''Anhedonia''] (2017) - ambient music in various tunings, including 15edo, 16edo, 23edo, 72edo, and random freely-modulated intonation; some 12edo as well |
| For this criterion, I'm awarding an x to any tuning where I've subjectively found it easy to compose melodies over progressions of concordant chords that make use of non-chord tones, but which do not cause an excessive increase in discordance when doing so.</body></html></pre></div>
| | * [https://pixelarchipelago.bandcamp.com/album/to-dwell-in-the-realm-of-limitless-possibilities ''...to Dwell in the Realm of Limitless Possibilities''] (2017) - ambient music in various tunings, including 24edo, 36edo, 72edo, random intonation, and 13-limit JI; some 12edo as well |
| | * [https://pixelarchipelago.bandcamp.com/album/live-forever-in-the-void-of-space ''Live Forever in the Void of Space''] (2014) - ambient and dark ambient music in various tunings, including 13edo, 15edo, 23edo, and 13-limit JI; some 12edo as well |
| | |
| | == See also == |
| | * [[Chuckles McGee's EDO personalities]] |
| | |
| | == References == |
| | <references/> |
| | |
| | == External links == |
| | * [https://soundcloud.com/sacred-skeleton SoundCloud profile (Sacred Skeleton)] |
| | * [https://www.youtube.com/c/SkeletonStyle YouTube channel (Skeleton Style)] |
| | |
| | {{DEFAULTSORT:Jones, Igliashon}} |
| | [[Category:People]] |
| | [[Category:Pseudonyms]] |
| | [[Category:Composers]] |
| | [[Category:Musicians]] |
| | [[Category:Theorists]] |
| | {{todo|update}} |
- "Igliashon" redirects here. For the scale, see Igliashon (scale).
Deja Igliashon[1], formerly known as Igliashon Jones[2], is a guitarist and composer living in Portland, Oregon. Born in 1982 in San Mateo, California, they have been studying microtonality since 2003. They have released numerous albums of microtonal music in a wide variety of tunings, under several aliases, mostly equal divisions of the octave. They have been an active (if controversial) participant in the online xenharmonic community for many years, dating back to the Alternate Tunings Yahoo group (aka "the Tuning List"). They collaborated with and were a member of the progressive rock band The Mercury Tree.
Approach to xenharmonics
While Igliashon favors equal divisions of the octave, they are an enthusiast of all forms of microtonal theory, including regular temperament theory and just intonation. They subscribe to the belief that there is no single best tuning or approach to tuning, and encourages collaboration between those with diverse views and backgrounds. Igliashon is primarily a guitar player who dabbles in composition for electronic media. They currently own guitars in 13edo, 14edo, 15edo, 17edo, 21edo, and 23edo. They have owned guitars in 16edo, 18edo, 19edo, 20edo, 22edo, and 31edo in the past, and have recorded and released music using each and every one.
As a theorist, Igliashon's main area of interest has been on JI subgroups of the 17-limit, and temperaments thereof, as applied to equal divisions of the octave below 24edo. Their research has focused especially on EDOs normally considered to be too dissonant to be useful for harmonic music, such as 8edo, 10edo, 13edo, and 23edo. By applying the principles of regularly-tempered subgroup harmony, Igliashon has found consonant triads, tetrads, and pentads in all of the EDOs below 24, and has contributed much to the wiki articles on those tunings.
Aliases
Active aliases:
- Cryptic Ruse - mostly xenharmonic progressive instrumental metal and drone metal
- City of the Asleep - mostly xenharmonic instrumental post rock, surf rock, electronica, glitch, and experimental progressive rock
- Pixel Archipelago - xenharmonic ambient music
- Perplextus Joans - non-microtonal post-punk and post-industrial music, with vocals
Microtonal discography
As Cryptic Ruse:
- A Year Without Breath (2022)
- Our Crumbling Psychic Infrastructure (2021)
- UNFERTILE (2020) - math/doom metal in 23edo
- ASMR[dead link] - drone/doom/post-metal in 23edo, 15edo, and 13edo
- Dual Spaces: Exercises & Diagrams (2018)
- Pineal Algebra (2017) - instrumental progressive metal in 14edo, 15edo, 17edo, and 23edo
- Wasting and Thirsting[dead link] - drone metal in 14edo, 17edo, and 23edo
- Chains of Smoke (2014) - instrumental progressive metal in 13edo, 15edo, and 23edo
- Misc 2003-2014 (2017) - instrumental progressive metal in 10edo, 15edo, 22edo, and 31edo
As City of the Asleep:
- HABAFROPZIPULOPS (2019)
- An Amputated Elliptic Knob of the Cryptocurve Regenerates (2019)
- CLOIIDS[dead link] - instrumental progressive post rock recorded between 2010 and 2016 in EDOs: 8, 10, 11, 13, 14, 23, 19, 23, 26, 29
- Transfinity (2012) - instrumental progressive post rock/experimental/kraut rock in 23edo
- Transcendissonance (2011) - electronica in a variety of maximally-discordant tunings
- Winter in Tumultua (2012) - experimental post rock/ambient/electronica in 17edo
- Open Space[dead link] - post rock/surf rock in 8edo, 9edo, 10edo, 16edo, 17edo,18edo, and 20edo
- Map of an Internal Landscape (2007) - retro electronica in edos 9 through 28, omitting 12 and 24.
- Early Microtonal Works (2006) - instrumental rock, post rock, and experimental music in 17edo, 22edo, 31edo, and 13-limit JI
As Pixel Archipelago:
- Music for Mutantis (2021)
- Intervallic Prism (2020)
- Flower and Water (2017) - ambient music in various tunings, including 14edo and 72edo; some 12edo as well
- Anhedonia (2017) - ambient music in various tunings, including 15edo, 16edo, 23edo, 72edo, and random freely-modulated intonation; some 12edo as well
- ...to Dwell in the Realm of Limitless Possibilities (2017) - ambient music in various tunings, including 24edo, 36edo, 72edo, random intonation, and 13-limit JI; some 12edo as well
- Live Forever in the Void of Space (2014) - ambient and dark ambient music in various tunings, including 13edo, 15edo, 23edo, and 13-limit JI; some 12edo as well
See also
References
External links