SAKryukov
Joined 23 November 2020
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:::::: The rationale behind adding 24edo is that this EDO is what most non-microtonalists (to my knowledge) think of when they think of microtonal music- I mean, I got my start with 24edo for a reason. The rationale behind adding 53edo is that this EDO approximates the 3 prime very well (the difference between a 53edo fifth and a just perfect fifth is virtually unnoticeable), and Mercator's comma- which is the amount by which 53 fifths exceed 31 octaves- is the smallest comma forming the difference between a chain of fifths and a chain of octaves until you reach higher EDOs with unreasonably small step sizes. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 19:02, 24 November 2020 (UTC) | :::::: The rationale behind adding 24edo is that this EDO is what most non-microtonalists (to my knowledge) think of when they think of microtonal music- I mean, I got my start with 24edo for a reason. The rationale behind adding 53edo is that this EDO approximates the 3 prime very well (the difference between a 53edo fifth and a just perfect fifth is virtually unnoticeable), and Mercator's comma- which is the amount by which 53 fifths exceed 31 octaves- is the smallest comma forming the difference between a chain of fifths and a chain of octaves until you reach higher EDOs with unreasonably small step sizes. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 19:02, 24 November 2020 (UTC) | ||
::::::: I understand. As to "most non-microtonalists", I also noticed the same thing — some naively thought of "quarter-tones" when you mention "microtonal", but don't see it as a valid argument for anything. One apparent reason of 24-EDO I can see is the melismas of Near/Middle East musical culture. I do appreciate this kind of music and enjoy it, but I think that for this culture, historically, 24-EDO is nothing but a very trivial adaptation of Western common-practice 12-EDO (division semitones into quarter-tones), and maybe more advanced tonal systems could better render the traditional intonation. As to your arguments of 11/8 and 16/11, perhaps I need to listen to "Folly of a Drunk", try to understand the function, and do some calculations. You see, when I said "Do you think I miss something?", I really meant I could miss something. When I started to discover and evaluate different microtonal systems, I mostly work by comparison with "just intonation" in a more narrow sense of this word, [https://en.wikipedia.org/wiki/Just_intonation precisely this one], and later found the examples of interval relationships not found in this particular system. But this goes too deep in the nesting of the present document. Perhaps I'll add another header at the bottom, write a bit on what I think, and mention this on this line, in case you may want to comment... | ::::::: I understand. As to "most non-microtonalists", I also noticed the same thing — some naively thought of "quarter-tones" when you mention "microtonal", but don't see it as a valid argument for anything. One apparent reason of 24-EDO I can see is the melismas of Near/Middle East musical culture. I do appreciate this kind of music and enjoy it, but I think that for this culture, historically, 24-EDO is nothing but a very trivial adaptation of Western common-practice 12-EDO (division semitones into quarter-tones), and maybe more advanced tonal systems could better render the traditional intonation. As to your arguments of 11/8 and 16/11, perhaps I need to listen to "Folly of a Drunk", try to understand the function, and do some calculations. You see, when I said "Do you think I miss something?", I really meant I could miss something. When I started to discover and evaluate different microtonal systems, I mostly work by comparison with "just intonation" in a more narrow sense of this word, [https://en.wikipedia.org/wiki/Just_intonation precisely this one], and later found the examples of interval relationships not found in this particular system. But this goes too deep in the nesting of the present document. Perhaps I'll add another header at the bottom, write a bit on what I think, and mention this on this line, in case you may want to comment... | ||
:::::::: For the record, I can already tell you that 11/8 has a function akin to a cross between that of 4/3 and that of 45/32, while 16/11 has a function akin to that of a cross between 64/45 and 3/2. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 01:00, 25 November 2020 (UTC) | |||
:::::: For the record, if you're interested in advancing your research on Just Intonation, you might want to check out what I'm doing for [[Alpharabian tuning]]. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 21:45, 24 November 2020 (UTC) | :::::: For the record, if you're interested in advancing your research on Just Intonation, you might want to check out what I'm doing for [[Alpharabian tuning]]. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 21:45, 24 November 2020 (UTC) | ||