Kite Giedraitis: Difference between revisions

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Things I refuse to memorize:

<ul><li>I refuse to memorize any ratio with numbers of more than 2 digits</li><li>I refuse to memorize any extended ratio with numbers higher than 20</li><li>I refuse to memorize the difference between a limna, a kleisma, a schisma, a diaschisma, and a diesis</li><li>I refuse to memorize the 62 sagittal accidentals</li><li>I refuse to memorize the 750 temperament names</li></ul>

<ul><li>I refuse to memorize any ratio with numbers of more than 2 digits</li><li>I refuse to memorize any extended ratio with numbers higher than 20</li><li>I refuse to memorize the difference between a limna, a kleisma, a schisma, a diaschisma, and a diesis</li><li>I refuse to memorize the 62 sagittal accidentals</li><li>I refuse to memorize the 46 TAMNAMS names

</li><li>I refuse to memorize the 750 temperament names</li></ul>

=== A Rant ===

Kite's horribly opinionated rant about the current state of microtonal music:

There's such a thing as an over-educated ear. Anyone that studies microtonal music for a decade or so can hear consonance in anything. You learn to appreciate ever larger odd limits and prime limits until the octave is packed with hundreds of ratios. And every possible cents interval becomes a tempered version of some ratio or other. I personally would never use, say, 15/13. I just don't want to make music that requires that level of ear training~~. I don't think any of us should~~. It just makes microtonal music unlistenable and inaccessible to the general public. It's like avant-garde jazz or atonal classical music. It's honestly hard for me to tell the difference between either of those and a toddler plunking away on the piano at random. I guess if I went to music school, I could learn to tell the difference, but why bother? Music is supposed to be fun, and you shouldn't have to read a textbook to get it.

There's such a thing as an over-educated ear. Anyone that studies microtonal music for a decade or so can hear consonance in anything. You learn to appreciate ever larger odd limits and prime limits until the octave is packed with hundreds of ratios. And every possible cents interval becomes a tempered version of some ratio or other. I personally would never use, say, 15/13. I just don't want to make music that requires that level of ear training. It just makes microtonal music unlistenable and inaccessible to the general public. It's like avant-garde jazz or atonal classical music. It's honestly hard for me to tell the difference between either of those and a toddler plunking away on the piano at random. I guess if I went to music school, I could learn to tell the difference, but why bother? Music is supposed to be fun, and you shouldn't have to read a textbook to get it.

=== Groaner puns ===

@@ Line 31: / Line 31: @@
 Things I refuse to memorize:
-<ul><li>I refuse to memorize any ratio with numbers of more than 2 digits</li><li>I refuse to memorize any extended ratio with numbers higher than 20</li><li>I refuse to memorize the difference between a limna, a kleisma, a schisma, a diaschisma, and a diesis</li><li>I refuse to memorize the 62 sagittal accidentals</li><li>I refuse to memorize the 750 temperament names</li></ul>
+<ul><li>I refuse to memorize any ratio with numbers of more than 2 digits</li><li>I refuse to memorize any extended ratio with numbers higher than 20</li><li>I refuse to memorize the difference between a limna, a kleisma, a schisma, a diaschisma, and a diesis</li><li>I refuse to memorize the 62 sagittal accidentals</li><li>I refuse to memorize the 46 TAMNAMS names
+</li><li>I refuse to memorize the 750 temperament names</li></ul>
 === A Rant ===
 Kite's horribly opinionated rant about the current state of microtonal music:
-There's such a thing as an over-educated ear. Anyone that studies microtonal music for a decade or so can hear consonance in anything. You learn to appreciate ever larger odd limits and prime limits until the octave is packed with hundreds of ratios. And every possible cents interval becomes a tempered version of some ratio or other. I personally would never use, say, 15/13. I just don't want to make music that requires that level of ear training. I don't think any of us should. It just makes microtonal music unlistenable and inaccessible to the general public. It's like avant-garde jazz or atonal classical music. It's honestly hard for me to tell the difference between either of those and a toddler plunking away on the piano at random. I guess if I went to music school, I could learn to tell the difference, but why bother? Music is supposed to be fun, and you shouldn't have to read a textbook to get it.
+There's such a thing as an over-educated ear. Anyone that studies microtonal music for a decade or so can hear consonance in anything. You learn to appreciate ever larger odd limits and prime limits until the octave is packed with hundreds of ratios. And every possible cents interval becomes a tempered version of some ratio or other. I personally would never use, say, 15/13. I just don't want to make music that requires that level of ear training. It just makes microtonal music unlistenable and inaccessible to the general public. It's like avant-garde jazz or atonal classical music. It's honestly hard for me to tell the difference between either of those and a toddler plunking away on the piano at random. I guess if I went to music school, I could learn to tell the difference, but why bother? Music is supposed to be fun, and you shouldn't have to read a textbook to get it.
 === Groaner puns ===