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

Line 5:

== A Strange New World ==

From looking things up, it seems that Hunt and I have both been influenced by music theory of [https://en.wikipedia.org/wiki/Harry_Partch Harry Partch]. However, there are significant differences, as while Hunt has been influenced by the work of [https://de.wikipedia.org/wiki/Martin_Vogel_(Musikwissenschaftler) Martin Vogel] and Dr. Patrick Ozzard-Low, I, for my part, have been influenced rather heavily by what little I know of the works of [https://en.wikipedia.org/wiki/Hugo_Riemann Hugo Riemann], and I've even picked up a few tricks concerning Locrian mode from [https://alexanderlafollett.com/site/the-locrian-mode-no-its-not-unusable/ Alexander LaFollett], as well as learning from my own experimentations with Locrian. While I can't remember which came first, I must say that the influence of Riemann's concept of Harmonic duality on my work is strongly connected to my discovery that [https://music.stackexchange.com/questions/11274/what-are-the-greek-modes-and-how-do-they-differ-from-modern-modes Ancient Greek modes were built from the Treble downwards], and, because when the Ancient Romans borrowed the Greek terminology, they evidently made the mistake of assuming that the Greek note names were built from the Bass~~-Upwards~~, [https://el.wikipedia.org/wiki/%CE%A4%CF%81%CF%8C%CF%80%CE%BF%CF%82_(%CE%BC%CE%BF%CF%85%CF%83%CE%B9%CE%BA%CE%AE) resulting in a disconnect] between the Ancient Greek musical system and Modern Western Music Theory.

From looking things up, it seems that Hunt and I have both been influenced by music theory of [https://en.wikipedia.org/wiki/Harry_Partch Harry Partch]. However, there are significant differences, as while Hunt has been influenced by the work of [https://de.wikipedia.org/wiki/Martin_Vogel_(Musikwissenschaftler) Martin Vogel] and Dr. Patrick Ozzard-Low, I, for my part, have been influenced rather heavily by what little I know of the works of [https://en.wikipedia.org/wiki/Hugo_Riemann Hugo Riemann], and I've even picked up a few tricks concerning Locrian mode from [https://alexanderlafollett.com/site/the-locrian-mode-no-its-not-unusable/ Alexander LaFollett], as well as learning from my own experimentations with Locrian. While I can't remember which came first, I must say that the influence of Riemann's concept of Harmonic duality on my work is strongly connected to my discovery that [https://music.stackexchange.com/questions/11274/what-are-the-greek-modes-and-how-do-they-differ-from-modern-modes Ancient Greek modes were built from the Treble downwards], and, because when the Ancient Romans borrowed the Greek terminology, they evidently made the mistake of assuming that the Greek note names were built from the Bass upwards, [https://el.wikipedia.org/wiki/%CE%A4%CF%81%CF%8C%CF%80%CE%BF%CF%82_(%CE%BC%CE%BF%CF%85%CF%83%CE%B9%CE%BA%CE%AE) resulting in a disconnect] between the Ancient Greek musical system and Modern Western Music Theory.

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.

@@ Line 5: / Line 5: @@
 == A Strange New World ==
-From looking things up, it seems that Hunt and I have both been influenced by music theory of [https://en.wikipedia.org/wiki/Harry_Partch Harry Partch]. However, there are significant differences, as while Hunt has been influenced by the work of [https://de.wikipedia.org/wiki/Martin_Vogel_(Musikwissenschaftler) Martin Vogel] and Dr. Patrick Ozzard-Low, I, for my part, have been influenced rather heavily by what little I know of the works of [https://en.wikipedia.org/wiki/Hugo_Riemann Hugo Riemann], and I've even picked up a few tricks concerning Locrian mode from [https://alexanderlafollett.com/site/the-locrian-mode-no-its-not-unusable/ Alexander LaFollett], as well as learning from my own experimentations with Locrian.  While I can't remember which came first, I must say that the influence of Riemann's concept of Harmonic duality on my work is strongly connected to my discovery that [https://music.stackexchange.com/questions/11274/what-are-the-greek-modes-and-how-do-they-differ-from-modern-modes Ancient Greek modes were built from the Treble downwards], and, because when the Ancient Romans borrowed the Greek terminology, they evidently made the mistake of assuming that the Greek note names were built from the Bass-Upwards, [https://el.wikipedia.org/wiki/%CE%A4%CF%81%CF%8C%CF%80%CE%BF%CF%82_(%CE%BC%CE%BF%CF%85%CF%83%CE%B9%CE%BA%CE%AE) resulting in a disconnect] between the Ancient Greek musical system and Modern Western Music Theory.
+From looking things up, it seems that Hunt and I have both been influenced by music theory of [https://en.wikipedia.org/wiki/Harry_Partch Harry Partch]. However, there are significant differences, as while Hunt has been influenced by the work of [https://de.wikipedia.org/wiki/Martin_Vogel_(Musikwissenschaftler) Martin Vogel] and Dr. Patrick Ozzard-Low, I, for my part, have been influenced rather heavily by what little I know of the works of [https://en.wikipedia.org/wiki/Hugo_Riemann Hugo Riemann], and I've even picked up a few tricks concerning Locrian mode from [https://alexanderlafollett.com/site/the-locrian-mode-no-its-not-unusable/ Alexander LaFollett], as well as learning from my own experimentations with Locrian.  While I can't remember which came first, I must say that the influence of Riemann's concept of Harmonic duality on my work is strongly connected to my discovery that [https://music.stackexchange.com/questions/11274/what-are-the-greek-modes-and-how-do-they-differ-from-modern-modes Ancient Greek modes were built from the Treble downwards], and, because when the Ancient Romans borrowed the Greek terminology, they evidently made the mistake of assuming that the Greek note names were built from the Bass upwards, [https://el.wikipedia.org/wiki/%CE%A4%CF%81%CF%8C%CF%80%CE%BF%CF%82_(%CE%BC%CE%BF%CF%85%CF%83%CE%B9%CE%BA%CE%AE) resulting in a disconnect] between the Ancient Greek musical system and Modern Western Music Theory.
 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.