User:Xenji/Redundancy: Difference between revisions
Wikispaces>Andrew_Heathwaite **Imported revision 102278135 - Original comment: ** |
Wikispaces>Andrew_Heathwaite **Imported revision 102362085 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2009-11-12 | : This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2009-11-12 22:58:49 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>102362085</tt>.<br> | ||
: The revision comment was: <tt></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> | 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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//Any aggregate of events or objects (e.g., a sequence of phonemes, a painting, or a frog, or a culture) shall be said to contain "redundancy" or "pattern" if the aggregate can be divided in any way by a "slash mark," such that an observer perceiving only what is on one side of the slash mark can// guess//, with better than random success, what is on the other side of the slash mark. We may say that what is on one side of the slash contains// information //or has// meaning //about what is on the other side. Or, in engineer's language, the aggregate contains "redundancy."// | //Any aggregate of events or objects (e.g., a sequence of phonemes, a painting, or a frog, or a culture) shall be said to contain "redundancy" or "pattern" if the aggregate can be divided in any way by a "slash mark," such that an observer perceiving only what is on one side of the slash mark can// guess//, with better than random success, what is on the other side of the slash mark. We may say that what is on one side of the slash contains// information //or has// meaning //about what is on the other side. Or, in engineer's language, the aggregate contains "redundancy."// | ||
I ([[user:Andrew_Heathwaite|1258062436]]) assert: | I ([[user:Andrew_Heathwaite|1258062436]]) assert: | ||
* A system (eg. "a work of art", "a composition", "a tuning system") implies a network of redundancies. | |||
* We can talk about these redundancies: "less redundancy"; "more redundancy"; "no redundancy", etc. | |||
** "Less" or "more" or "no" redundancy is determined by each listener (largely unconsciously) according to her structure at that moment. | |||
* [Perceived] more redundancy in one aspect may ground a piece so that [perceived] less redundancy in another aspect can be seen as meaningful. | |||
** "One thing stays the same so another thing can change." | |||
** "One thing changes so another thing can stay the same." | |||
* "No redundancy" can be seen as redundant when the listener can predict continued lack of redundancy. | |||
** "I know what it's going to do next - something random!" | |||
** A listener may hear or not hear (make or not make) an intended redundancy/pattern. | |||
* Answers to questions of which redundancies (or which networks of redundancies) help us decide things like "style", "meaning", "how should I listen to this?" and "is this music, anyway?" | |||
If I look a tuning as a system, I might consider the tuning's "redundancy." | If I look a tuning as a system, I might consider the tuning's "redundancy." | ||
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Here is a far from complete list of aspects of tunings systems that might indicate redundancy of some kind. Please add to it! | Here is a far from complete list of aspects of tunings systems that might indicate redundancy of some kind. Please add to it! | ||
* definite pitches | * definite pitches | ||
** instead of, or in addition to noise | ** instead of, or in addition to [[noise]] | ||
* sustained pitch | * sustained pitch | ||
** redundancy in time | ** redundancy in time | ||
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* [[consonance]] | * [[consonance]] | ||
** more than one pitch sounding together & their distinctness blurring | ** more than one pitch sounding together & their distinctness blurring | ||
** if pitch y appears in the overtone series of pitch x, when pitch x is sounding (on a harmonic instrument), pitch y will also sound (although might not be identifiable as a distinct pitch) - so building a scale which contains both x & y is redundant | |||
* [[octave equivalence]] | * [[octave equivalence]] | ||
** B-flat considered equivalent to B-flat... | ** B-flat considered equivalent to B-flat an octave higher... | ||
* [[octave-repeating]] | * [[octave-repeating]] | ||
** the "same" pitches are available in each octave | ** the "same" pitches are available in each octave | ||
* [[equal]] divisions of some interval | * [[equal]] divisions of some interval | ||
** | ** less redundant: [[quasi-equal]] divisions | ||
* tuning lattices | * tuning lattices | ||
* [[harmonic limit]] | * [[harmonic limit]] | ||
* building scales from/with [[tetrachord|tetrachords]] | |||
** more redundant: the same tetrachord repeated in the gamut | |||
** less redundant: two (or more) different tetrachords in the gamut | |||
* [[MOSScales|moment of symmetry]] technique (making a chain of one interval) | * [[MOSScales|moment of symmetry]] technique (making a chain of one interval) | ||
** produces scales with two step sizes & a finite set of intervals | ** produces scales with two step sizes & a finite set of intervals | ||
** less redundant | ** less redundant: [[MOS Cradle]] or [[Second Order MOS]] | ||
* matching tuning to timbre | * matching tuning to timbre | ||
** eg. rational intonation | ** eg. rational intonation - selecting pitches which are copied in the [[OverToneSeries|overtone series]] of other intervals | ||
** eg. Indonesian gamelan tuning - the scale is made to match the inharmonic pitches of the metals used in building the instruments | ** eg. Indonesian gamelan tuning - the scale is made to match the inharmonic pitches of the metals used in building the instruments | ||
** octaves in the high range of a piano are routinely stretched to fit with the "distorted" sound of the high-tension strings | |||
* matching timbre to tuning | * matching timbre to tuning | ||
** the reverse of the above: making a timbre (usually with a computer) to "match" a stipulated tuning</pre></div> | ** the reverse of the above: making a timbre (usually with a computer) to "match" a stipulated tuning</pre></div> | ||
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<em>Any aggregate of events or objects (e.g., a sequence of phonemes, a painting, or a frog, or a culture) shall be said to contain &quot;redundancy&quot; or &quot;pattern&quot; if the aggregate can be divided in any way by a &quot;slash mark,&quot; such that an observer perceiving only what is on one side of the slash mark can</em> guess<em>, with better than random success, what is on the other side of the slash mark. We may say that what is on one side of the slash contains</em> information <em>or has</em> meaning <em>about what is on the other side. Or, in engineer's language, the aggregate contains &quot;redundancy.&quot;</em><br /> | <em>Any aggregate of events or objects (e.g., a sequence of phonemes, a painting, or a frog, or a culture) shall be said to contain &quot;redundancy&quot; or &quot;pattern&quot; if the aggregate can be divided in any way by a &quot;slash mark,&quot; such that an observer perceiving only what is on one side of the slash mark can</em> guess<em>, with better than random success, what is on the other side of the slash mark. We may say that what is on one side of the slash contains</em> information <em>or has</em> meaning <em>about what is on the other side. Or, in engineer's language, the aggregate contains &quot;redundancy.&quot;</em><br /> | ||
<br /> | <br /> | ||
I (<!-- ws:start:WikiTextUserlinkRule:00:[[user:Andrew_Heathwaite|1258062436]] --><span class="membersnap">- <a class="userLink" href="http://www.wikispaces.com/user/view/Andrew_Heathwaite" style="outline: none;"><img src="http://www.wikispaces.com/user/pic/Andrew_Heathwaite-lg.jpg" width="16" height="16" alt="Andrew_Heathwaite" class="userPicture" /></a> <a class="userLink" href="http://www.wikispaces.com/user/view/Andrew_Heathwaite" style="outline: none;">Andrew_Heathwaite</a> <small>Nov 12, 2009</small></span><!-- ws:end:WikiTextUserlinkRule:00 -->) assert: | I (<!-- ws:start:WikiTextUserlinkRule:00:[[user:Andrew_Heathwaite|1258062436]] --><span class="membersnap">- <a class="userLink" href="http://www.wikispaces.com/user/view/Andrew_Heathwaite" style="outline: none;"><img src="http://www.wikispaces.com/user/pic/Andrew_Heathwaite-lg.jpg" width="16" height="16" alt="Andrew_Heathwaite" class="userPicture" /></a> <a class="userLink" href="http://www.wikispaces.com/user/view/Andrew_Heathwaite" style="outline: none;">Andrew_Heathwaite</a> <small>Nov 12, 2009</small></span><!-- ws:end:WikiTextUserlinkRule:00 -->) assert:<br /> | ||
<br /> | <ul><li>A system (eg. &quot;a work of art&quot;, &quot;a composition&quot;, &quot;a tuning system&quot;) implies a network of redundancies.</li><li>We can talk about these redundancies: &quot;less redundancy&quot;; &quot;more redundancy&quot;; &quot;no redundancy&quot;, etc.<ul><li>&quot;Less&quot; or &quot;more&quot; or &quot;no&quot; redundancy is determined by each listener (largely unconsciously) according to her structure at that moment.</li></ul></li><li>[Perceived] more redundancy in one aspect may ground a piece so that [perceived] less redundancy in another aspect can be seen as meaningful.<ul><li>&quot;One thing stays the same so another thing can change.&quot;</li><li>&quot;One thing changes so another thing can stay the same.&quot;</li></ul></li><li>&quot;No redundancy&quot; can be seen as redundant when the listener can predict continued lack of redundancy.<ul><li>&quot;I know what it's going to do next - something random!&quot;</li><li>A listener may hear or not hear (make or not make) an intended redundancy/pattern.</li></ul></li><li>Answers to questions of which redundancies (or which networks of redundancies) help us decide things like &quot;style&quot;, &quot;meaning&quot;, &quot;how should I listen to this?&quot; and &quot;is this music, anyway?&quot;</li></ul><br /> | ||
If I look a tuning as a system, I might consider the tuning's &quot;redundancy.&quot;<br /> | If I look a tuning as a system, I might consider the tuning's &quot;redundancy.&quot;<br /> | ||
How does this tuning system exhibit <em>pattern</em>?<br /> | How does this tuning system exhibit <em>pattern</em>?<br /> | ||
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<br /> | <br /> | ||
Here is a far from complete list of aspects of tunings systems that might indicate redundancy of some kind. Please add to it!<br /> | Here is a far from complete list of aspects of tunings systems that might indicate redundancy of some kind. Please add to it!<br /> | ||
<ul><li>definite pitches<ul><li>instead of, or in addition to noise</li></ul></li><li>sustained pitch<ul><li>redundancy in time</li></ul></li><li>a <a class="wiki_link" href="/ScaleIndex">scale</a><ul><li>redundancy in time: &quot;I've heard these pitches before&quot;</li><li>less redundant: a scale which changes (for instance, ascending different from descending)</li></ul></li><li><a class="wiki_link" href="/consonance">consonance</a><ul><li>more than one pitch sounding together &amp; their distinctness blurring</li></ul></li><li><a class="wiki_link" href="/octave%20equivalence">octave equivalence</a><ul><li>B-flat considered equivalent to B-flat...</li></ul></li><li><a class="wiki_link" href="/octave-repeating">octave-repeating</a><ul><li>the &quot;same&quot; pitches are available in each octave</li></ul></li><li><a class="wiki_link" href="/equal">equal</a> divisions of some interval<ul><li> | <ul><li>definite pitches<ul><li>instead of, or in addition to <a class="wiki_link" href="/noise">noise</a></li></ul></li><li>sustained pitch<ul><li>redundancy in time</li></ul></li><li>a <a class="wiki_link" href="/ScaleIndex">scale</a><ul><li>redundancy in time: &quot;I've heard these pitches before&quot;</li><li>less redundant: a scale which changes (for instance, ascending different from descending)</li></ul></li><li><a class="wiki_link" href="/consonance">consonance</a><ul><li>more than one pitch sounding together &amp; their distinctness blurring</li><li>if pitch y appears in the overtone series of pitch x, when pitch x is sounding (on a harmonic instrument), pitch y will also sound (although might not be identifiable as a distinct pitch) - so building a scale which contains both x &amp; y is redundant</li></ul></li><li><a class="wiki_link" href="/octave%20equivalence">octave equivalence</a><ul><li>B-flat considered equivalent to B-flat an octave higher...</li></ul></li><li><a class="wiki_link" href="/octave-repeating">octave-repeating</a><ul><li>the &quot;same&quot; pitches are available in each octave</li></ul></li><li><a class="wiki_link" href="/equal">equal</a> divisions of some interval<ul><li>less redundant: <a class="wiki_link" href="/quasi-equal">quasi-equal</a> divisions</li></ul></li><li>tuning lattices</li><li><a class="wiki_link" href="/harmonic%20limit">harmonic limit</a></li><li>building scales from/with <a class="wiki_link" href="/tetrachord">tetrachords</a><ul><li>more redundant: the same tetrachord repeated in the gamut</li><li>less redundant: two (or more) different tetrachords in the gamut</li></ul></li><li><a class="wiki_link" href="/MOSScales">moment of symmetry</a> technique (making a chain of one interval)<ul><li>produces scales with two step sizes &amp; a finite set of intervals</li><li>less redundant: <a class="wiki_link" href="/MOS%20Cradle">MOS Cradle</a> or <a class="wiki_link" href="/Second%20Order%20MOS">Second Order MOS</a></li></ul></li><li>matching tuning to timbre<ul><li>eg. rational intonation - selecting pitches which are copied in the <a class="wiki_link" href="/OverToneSeries">overtone series</a> of other intervals</li><li>eg. Indonesian gamelan tuning - the scale is made to match the inharmonic pitches of the metals used in building the instruments</li><li>octaves in the high range of a piano are routinely stretched to fit with the &quot;distorted&quot; sound of the high-tension strings</li></ul></li><li>matching timbre to tuning<ul><li>the reverse of the above: making a timbre (usually with a computer) to &quot;match&quot; a stipulated tuning</li></ul></li></ul></body></html></pre></div> | ||