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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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, which in turn is more recognizable than 13/11 as an anchor. 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. In this way, this concept helps connect subjective and objective parts of xenharmonic music theory.

'''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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+{{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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 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, which in turn is more recognizable than 13/11 as an anchor. 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. In this way, this concept helps connect subjective and objective parts of xenharmonic music theory.
+'''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 ==