User:Aura/Aura's Ideas on Tonality: Difference between revisions

Line 9:

In light of this information, and in light of the development of Western Music Theory since the time of the Romans, I think it would be a good idea to also build on the more historically accurate version of the Ancient Greek modes and Treble-Down tonality in general to the same extent as has been done for Bass-Up tonality. However, doing this involves discarding the commonly-held dogmatic assumption in Modern Western Music Theory that all music is built from the Bass Upwards. Furthermore, it involves renaming some of the diatonic functions encountered in Modern Western Music Theory to be better accommodating to Treble-Down Tonality, something which Hunt's system fails to do. So, in order to do this, what sort of foundation shall we use? Well, for one thing, I propose we take Riemann's concept of harmonic duality- as well as Partch's argument that the Overtone Series and the Undertone Series are equally fundamental- much more seriously. Nevertheless, Hunt has done a fantastic job in integrating the ancient idea of a comma and the modern idea of the Just-Noticeable Difference in pitch perception, and I have even taken from [http://musictheory.zentral.zone/huntsystem2.html#2 the research on his site in this area] to establish core aspects of my standards in terms of pitch representation quality. However, I differ significantly with him in terms of what intervals can be regarded as "commas" as opposed to "chromas", as due to my prior experience with [[24edo]], I can only assume that chromas, in addition to the standard definitions, can also be intervals that are less than 50 cents, yet greater than 25 cents.

Hunt is right in pointing out [http://musictheory.zentral.zone/naturals1.html the fundamental nature of the Octave] in Bass-Up tonality, as well as his reasoning for why this is the case. However, it ~~is evident~~ that holds to the spurious Roman view that the Ancient Greeks built their music from the Bass Upwards, thus, he only sees an incomplete picture when it comes to why the Octave is fundamental when it comes to the acoustic physics. As stated by [https://en.wikipedia.org/wiki/Undertone_series#Resonance the Wikipedia article on the Undertone Series], [https://en.wikipedia.org/wiki/Henry_Cowell Henry Cowell] has rightly pointed out that subharmonics are rather difficult to avoid in resonance, and this physical phenomenon can been demonstrated in systems such as [https://www.youtube.com/watch?v=R_0s33fMOPI this relatively simple one]. Thus, the fact the Octave occupies the same positions relative to the fundamental in these systems as it does in harmonic systems lends itself to the reasonable assumption that physical properties of the subharmonic series act as an additional basis for the Octave being fundamental in acoustic physics. However, there's more to the physics of Treble-Down tonality than this, for as this video demonstrates, [https://www.youtube.com/watch?v=o4jgPdGrZYI], there are physical phenomenon in the analog world in which we live that produce notes that are not directly on the subharmonic spectrum, notes which our current understanding of physics fails to account for. Furthermore, as I was talking with Sam [[User_talk:CritDeathX#Ideas_of_Consonance|about our respective ideas of consonance]], one concept that emerged from our discussion was the idea of "contra-linear consonance", which can be paired with Sam's own ideas on what I'll refer to here as "linear consonance", and my own observations on this comport with other observations on Treble-Down tonality.

Hunt is right in pointing out [http://musictheory.zentral.zone/naturals1.html the fundamental nature of the Octave] in Bass-Up tonality, as well as his reasoning for why this is the case. However, it seems to be that he holds to the spurious Roman view that the Ancient Greeks built their music from the Bass Upwards, thus, he only sees an incomplete picture when it comes to why the Octave is fundamental when it comes to the acoustic physics. As stated by [https://en.wikipedia.org/wiki/Undertone_series#Resonance the Wikipedia article on the Undertone Series], [https://en.wikipedia.org/wiki/Henry_Cowell Henry Cowell] has rightly pointed out that subharmonics are rather difficult to avoid in resonance, and this physical phenomenon can been demonstrated in systems such as [https://www.youtube.com/watch?v=R_0s33fMOPI this relatively simple one]. Thus, the fact the Octave occupies the same positions relative to the fundamental in these systems as it does in harmonic systems lends itself to the reasonable assumption that physical properties of the subharmonic series act as an additional basis for the Octave being fundamental in acoustic physics. However, there's more to the physics of Treble-Down tonality than this, for as this video demonstrates, [https://www.youtube.com/watch?v=o4jgPdGrZYI], there are physical phenomenon in the analog world in which we live that produce notes that are not directly on the subharmonic spectrum, notes which our current understanding of physics fails to account for. Furthermore, as I was talking with Sam [[User_talk:CritDeathX#Ideas_of_Consonance|about our respective ideas of consonance]], one concept that emerged from our discussion was the idea of "contra-linear consonance", which can be paired with Sam's own ideas on what I'll refer to here as "linear consonance", and my own observations on this comport with other observations on Treble-Down tonality.

Revision as of 20:53, 8 October 2020 view source Aura (talk \| contribs) autopatrolled, emailconfirmed 5,920 edits Beginnings of a page explaining the nature my system		Revision as of 23:20, 8 October 2020 view source Aura (talk \| contribs) autopatrolled, emailconfirmed 5,920 edits No edit summary Newer edit →
Line 9:		Line 9:
	In light of this information, and in light of the development of Western Music Theory since the time of the Romans, I think it would be a good idea to also build on the more historically accurate version of the Ancient Greek modes and Treble-Down tonality in general to the same extent as has been done for Bass-Up tonality. However, doing this involves discarding the commonly-held dogmatic assumption in Modern Western Music Theory that all music is built from the Bass Upwards. Furthermore, it involves renaming some of the diatonic functions encountered in Modern Western Music Theory to be better accommodating to Treble-Down Tonality, something which Hunt's system fails to do. So, in order to do this, what sort of foundation shall we use? Well, for one thing, I propose we take Riemann's concept of harmonic duality- as well as Partch's argument that the Overtone Series and the Undertone Series are equally fundamental- much more seriously. Nevertheless, Hunt has done a fantastic job in integrating the ancient idea of a comma and the modern idea of the Just-Noticeable Difference in pitch perception, and I have even taken from [http://musictheory.zentral.zone/huntsystem2.html#2 the research on his site in this area] to establish core aspects of my standards in terms of pitch representation quality. However, I differ significantly with him in terms of what intervals can be regarded as "commas" as opposed to "chromas", as due to my prior experience with [[24edo]], I can only assume that chromas, in addition to the standard definitions, can also be intervals that are less than 50 cents, yet greater than 25 cents.		In light of this information, and in light of the development of Western Music Theory since the time of the Romans, I think it would be a good idea to also build on the more historically accurate version of the Ancient Greek modes and Treble-Down tonality in general to the same extent as has been done for Bass-Up tonality. However, doing this involves discarding the commonly-held dogmatic assumption in Modern Western Music Theory that all music is built from the Bass Upwards. Furthermore, it involves renaming some of the diatonic functions encountered in Modern Western Music Theory to be better accommodating to Treble-Down Tonality, something which Hunt's system fails to do. So, in order to do this, what sort of foundation shall we use? Well, for one thing, I propose we take Riemann's concept of harmonic duality- as well as Partch's argument that the Overtone Series and the Undertone Series are equally fundamental- much more seriously. Nevertheless, Hunt has done a fantastic job in integrating the ancient idea of a comma and the modern idea of the Just-Noticeable Difference in pitch perception, and I have even taken from [http://musictheory.zentral.zone/huntsystem2.html#2 the research on his site in this area] to establish core aspects of my standards in terms of pitch representation quality. However, I differ significantly with him in terms of what intervals can be regarded as "commas" as opposed to "chromas", as due to my prior experience with [[24edo]], I can only assume that chromas, in addition to the standard definitions, can also be intervals that are less than 50 cents, yet greater than 25 cents.

	Hunt is right in pointing out [http://musictheory.zentral.zone/naturals1.html the fundamental nature of the Octave] in Bass-Up tonality, as well as his reasoning for why this is the case. However, it ~~is evident~~ that holds to the spurious Roman view that the Ancient Greeks built their music from the Bass Upwards, thus, he only sees an incomplete picture when it comes to why the Octave is fundamental when it comes to the acoustic physics. As stated by [https://en.wikipedia.org/wiki/Undertone_series#Resonance the Wikipedia article on the Undertone Series], [https://en.wikipedia.org/wiki/Henry_Cowell Henry Cowell] has rightly pointed out that subharmonics are rather difficult to avoid in resonance, and this physical phenomenon can been demonstrated in systems such as [https://www.youtube.com/watch?v=R_0s33fMOPI this relatively simple one]. Thus, the fact the Octave occupies the same positions relative to the fundamental in these systems as it does in harmonic systems lends itself to the reasonable assumption that physical properties of the subharmonic series act as an additional basis for the Octave being fundamental in acoustic physics. However, there's more to the physics of Treble-Down tonality than this, for as this video demonstrates, [https://www.youtube.com/watch?v=o4jgPdGrZYI], there are physical phenomenon in the analog world in which we live that produce notes that are not directly on the subharmonic spectrum, notes which our current understanding of physics fails to account for. Furthermore, as I was talking with Sam [[User_talk:CritDeathX#Ideas_of_Consonance\|about our respective ideas of consonance]], one concept that emerged from our discussion was the idea of "contra-linear consonance", which can be paired with Sam's own ideas on what I'll refer to here as "linear consonance", and my own observations on this comport with other observations on Treble-Down tonality.		Hunt is right in pointing out [http://musictheory.zentral.zone/naturals1.html the fundamental nature of the Octave] in Bass-Up tonality, as well as his reasoning for why this is the case. However, it seems to be that he holds to the spurious Roman view that the Ancient Greeks built their music from the Bass Upwards, thus, he only sees an incomplete picture when it comes to why the Octave is fundamental when it comes to the acoustic physics. As stated by [https://en.wikipedia.org/wiki/Undertone_series#Resonance the Wikipedia article on the Undertone Series], [https://en.wikipedia.org/wiki/Henry_Cowell Henry Cowell] has rightly pointed out that subharmonics are rather difficult to avoid in resonance, and this physical phenomenon can been demonstrated in systems such as [https://www.youtube.com/watch?v=R_0s33fMOPI this relatively simple one]. Thus, the fact the Octave occupies the same positions relative to the fundamental in these systems as it does in harmonic systems lends itself to the reasonable assumption that physical properties of the subharmonic series act as an additional basis for the Octave being fundamental in acoustic physics. However, there's more to the physics of Treble-Down tonality than this, for as this video demonstrates, [https://www.youtube.com/watch?v=o4jgPdGrZYI], there are physical phenomenon in the analog world in which we live that produce notes that are not directly on the subharmonic spectrum, notes which our current understanding of physics fails to account for. Furthermore, as I was talking with Sam [[User_talk:CritDeathX#Ideas_of_Consonance\|about our respective ideas of consonance]], one concept that emerged from our discussion was the idea of "contra-linear consonance", which can be paired with Sam's own ideas on what I'll refer to here as "linear consonance", and my own observations on this comport with other observations on Treble-Down tonality.