Free style JI: Difference between revisions

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<h2>IMPORTED REVISION FROM WIKISPACES</h2>

This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>

: This revision was by author [[User:~~badmuthahubbard~~|~~badmuthahubbard~~]] and made on <tt>2010-12-~~14 10~~:32:16 UTC</tt>.<br>

: This revision was by author [[User:genewardsmith|genewardsmith]] and made on <tt>2010-12-15 13:38:11 UTC</tt>.<br>

: The original revision id was <tt>~~188038003~~</tt>.<br>

: The original revision id was <tt>188433563</tt>.<br>

: The revision comment was: <tt>~~The software mentioned here has been replaced, and I just updated the link and info.~~</tt><br>

: The revision comment was: <tt></tt><br>

The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>

<h4>Original Wikitext content:</h4>

<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">Lou Harrison invented this term from a technique he applied first in the middle section of his piece "At The Tomb of Charles Ives"; Instead of working with a set of fixed pitches, his concept was instead to use a set of fixed intervals regardless where this lead one. David Doty realized a midi version of a Symphony in Free Style That Mr. Harrison wrote.

In adding freedom you may be sacrificing a 'safety' of familiarity, tonality, simplicity of materials, etc. It is a dangerous and rewarding world out there.

In adding freedom you may be sacrificing a 'safety' of familiarity, tonality, simplicity of materials, etc. It is a dangerous and rewarding world out there. Another consideration is that unless an effort is made to restrict the range of tonalities, the numerators and denominators grow with time and become unwieldy and eventually impossible to manage. If no such effort is made, they grow linearly. One possible solution is nanotempering--using an equal temperament so high it cannot be distinguished from JI.

Toby Twining's //Chrysalid Requiem// makes local use of subharmonic, harmonic, 3s-and-7s, and other subsets of JI; however its large-scale modulations wander far and never return precisely to the 1/1 begun with.

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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>FreeStyleJI</title></head><body>Lou Harrison invented this term from a technique he applied first in the middle section of his piece &quot;At The Tomb of Charles Ives&quot;; Instead of working with a set of fixed pitches, his concept was instead to use a set of fixed intervals regardless where this lead one. David Doty realized a midi version of a Symphony in Free Style That Mr. Harrison wrote.<br />

<br />

In adding freedom you may be sacrificing a 'safety' of familiarity, tonality, simplicity of materials, etc. It is a dangerous and rewarding world out there.<br />

In adding freedom you may be sacrificing a 'safety' of familiarity, tonality, simplicity of materials, etc. It is a dangerous and rewarding world out there. Another consideration is that unless an effort is made to restrict the range of tonalities, the numerators and denominators grow with time and become unwieldy and eventually impossible to manage. If no such effort is made, they grow linearly. One possible solution is nanotempering--using an equal temperament so high it cannot be distinguished from JI.<br />

<br />

Toby Twining's <em>Chrysalid Requiem</em> makes local use of subharmonic, harmonic, 3s-and-7s, and other subsets of JI; however its large-scale modulations wander far and never return precisely to the 1/1 begun with.<br />

@@ Line 1: / Line 1: @@
 <h2>IMPORTED REVISION FROM WIKISPACES</h2>
 This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
-: This revision was by author [[User:badmuthahubbard|badmuthahubbard]] and made on <tt>2010-12-14 10:32:16 UTC</tt>.<br>
+: This revision was by author [[User:genewardsmith|genewardsmith]] and made on <tt>2010-12-15 13:38:11 UTC</tt>.<br>
-: The original revision id was <tt>188038003</tt>.<br>
+: The original revision id was <tt>188433563</tt>.<br>
-: The revision comment was: <tt>The software mentioned here has been replaced, and I just updated the link and info.</tt><br>
+: The revision comment was: <tt></tt><br>
 The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
 <h4>Original Wikitext content:</h4>
 <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">Lou Harrison invented this term from a technique he applied first in the middle section of his piece "At The Tomb of Charles Ives"; Instead of working with a set of fixed pitches, his concept was instead to use a set of fixed intervals regardless where this lead one. David Doty realized a midi version of a Symphony in Free Style That Mr. Harrison wrote.
-In adding freedom you may be sacrificing a 'safety' of familiarity, tonality, simplicity of materials, etc. It is a dangerous and rewarding world out there.
+In adding freedom you may be sacrificing a 'safety' of familiarity, tonality, simplicity of materials, etc. It is a dangerous and rewarding world out there. Another consideration is that unless an effort is made to restrict the range of tonalities, the numerators and denominators grow with time and become unwieldy and eventually impossible to manage. If no such effort is made, they grow linearly. One possible solution is nanotempering--using an equal temperament so high it cannot be distinguished from JI.
 Toby Twining's //Chrysalid Requiem// makes local use of subharmonic, harmonic, 3s-and-7s, and other subsets of JI; however its large-scale modulations wander far and never return precisely to the 1/1 begun with.
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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">&lt;html&gt;&lt;head&gt;&lt;title&gt;FreeStyleJI&lt;/title&gt;&lt;/head&gt;&lt;body&gt;Lou Harrison invented this term from a technique he applied first in the middle section of his piece &amp;quot;At The Tomb of Charles Ives&amp;quot;; Instead of working with a set of fixed pitches, his concept was instead to use a set of fixed intervals regardless where this lead one. David Doty realized a midi version of a Symphony in Free Style That Mr. Harrison wrote.&lt;br /&gt;
 &lt;br /&gt;
-In adding freedom you may be sacrificing a 'safety' of familiarity, tonality, simplicity of materials, etc. It is a dangerous and rewarding world out there.&lt;br /&gt;
+In adding freedom you may be sacrificing a 'safety' of familiarity, tonality, simplicity of materials, etc. It is a dangerous and rewarding world out there. Another consideration is that unless an effort is made to restrict the range of tonalities, the numerators and denominators grow with time and become unwieldy and eventually impossible to manage. If no such effort is made, they grow linearly. One possible solution is nanotempering--using an equal temperament so high it cannot be distinguished from JI.&lt;br /&gt;
 &lt;br /&gt;
 Toby Twining's &lt;em&gt;Chrysalid Requiem&lt;/em&gt; makes local use of subharmonic, harmonic, 3s-and-7s, and other subsets of JI; however its large-scale modulations wander far and never return precisely to the 1/1 begun with.&lt;br /&gt;