Bostjan Zupancic: Difference between revisions

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== Approach to tuning ==

Zupancic has focused mostly on 19-EDO, but has also extensively studied just intonation [[24edo|24-EDO]], and the [[~~Overtone scales|overtone~~ series]]. He has also been known to discuss other systems, such as [[22edo|22-EDO]], [[17edo|17-EDO]], [[31edo|31-EDO]], [[34edo|34-EDO]], and [[Bohlen-Pierce]] tuning with limited depth.

Zupancic has focused mostly on 19-EDO, but has also extensively studied just intonation [[24edo|24-EDO]], and the [[harmonic series]]. He has also been known to discuss other systems, such as [[22edo|22-EDO]], [[17edo|17-EDO]], [[31edo|31-EDO]], [[34edo|34-EDO]], and [[Bohlen-Pierce]] tuning with limited depth.

'''Just Intonation'''

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Zupancic uses 24-EDO to represent Persian, Arabic, and Levant tonalities, as well as more dissonant xenharmonic tonalities.

'''~~Overtone~~ Series'''

'''Harmonic Series'''

Zupancic uses the harmonic series to represent middle eastern tonalities as well, positing that establishing a drone as the root note of a movement of a piece, with lower-order harmonics to establish rhythmic chords and higher-order harmonics (with the major+h7 scale in the lower octave and the chromatic scale in the upper octave) to establish melody allows a rigid enough structure to meet a listener's natural expectations whilst allowing the performer enough freedom to compose expressive melodies.

{| class="wikitable"

|+Table 2: The 2-~~Octave Overtone~~ scale

|+Table 2: The 2-octave harmonic scale

!Interval abbreviation

!ratio

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== History ==

As a session musician in Detroit in the late 1990's, Zupancic became interested in microtuning after working with country musicians, who would habitually temper the tuning of their instruments to best suit the key of the song being recorded. He then studied the sitar, and started working on developing a new tuning that could compromise between eastern and western tuning, with emphasis on sweetening the notes that country musicians tempered. At that point, he was oblivious to the vast microtonal knowledge that existed in academia. He identified the Ptolemeic intervals if 5-limit just intonation, and began focusing on two other tuning options: one that used the ~~overtone~~ series, with more notes available in higher octaves than lower octaves, and another tuning with 19 notes equally spaced between each octave. As a university student, Zupancic spoke with his professors about his "discovery" of these three "new" tuning systems, which were actually hundreds of years old and had been studied quite thoroughly well before Zupancic's birth.

As a session musician in Detroit in the late 1990's, Zupancic became interested in microtuning after working with country musicians, who would habitually temper the tuning of their instruments to best suit the key of the song being recorded. He then studied the sitar, and started working on developing a new tuning that could compromise between eastern and western tuning, with emphasis on sweetening the notes that country musicians tempered. At that point, he was oblivious to the vast microtonal knowledge that existed in academia. He identified the Ptolemeic intervals if 5-limit just intonation, and began focusing on two other tuning options: one that used the harmonic series, with more notes available in higher octaves than lower octaves, and another tuning with 19 notes equally spaced between each octave. As a university student, Zupancic spoke with his professors about his "discovery" of these three "new" tuning systems, which were actually hundreds of years old and had been studied quite thoroughly well before Zupancic's birth.

Zupancic then turned his attention to gauging the reasons why these other tuning options had existed for so long without any mainstream exposure in western culture, and formed the thesis that 12-EDO took over merely out of convenience, and began to champion 19-EDO as a system that deserved to exist as an alternative tuning.

@@ Line 13: / Line 13: @@
 == Approach to tuning ==
-Zupancic has focused mostly on 19-EDO, but has also extensively studied just intonation  [[24edo|24-EDO]], and the [[Overtone scales|overtone series]].  He has also been known to discuss other systems, such as [[22edo|22-EDO]], [[17edo|17-EDO]], [[31edo|31-EDO]], [[34edo|34-EDO]], and [[Bohlen-Pierce]] tuning with limited depth.
+Zupancic has focused mostly on 19-EDO, but has also extensively studied just intonation  [[24edo|24-EDO]], and the [[harmonic series]].  He has also been known to discuss other systems, such as [[22edo|22-EDO]], [[17edo|17-EDO]], [[31edo|31-EDO]], [[34edo|34-EDO]], and [[Bohlen-Pierce]] tuning with limited depth.
 '''Just Intonation'''
@@ Line 126: / Line 126: @@
 Zupancic uses 24-EDO to represent Persian, Arabic, and Levant tonalities, as well as more dissonant xenharmonic tonalities.
-'''Overtone Series'''
+'''Harmonic Series'''
 Zupancic uses the harmonic series to represent middle eastern tonalities as well, positing that establishing a drone as the root note of a movement of a piece, with lower-order harmonics to establish rhythmic chords and higher-order harmonics (with the major+h7 scale in the lower octave and the chromatic scale in the upper octave) to establish melody allows a rigid enough structure to meet a listener's natural expectations whilst allowing the performer enough freedom to compose expressive melodies.
 {| class="wikitable"
-|+Table 2: The 2-Octave Overtone scale
+|+Table 2: The 2-octave harmonic scale
 !Interval abbreviation
 !ratio
@@ Line 233: / Line 233: @@
 == History ==
-As a session musician in Detroit in the late 1990's, Zupancic became interested in microtuning after working with country musicians, who would habitually temper the tuning of their instruments to best suit the key of the song being recorded.  He then studied the sitar, and started working on developing a new tuning that could compromise between eastern and western tuning, with emphasis on sweetening the notes that country musicians tempered.  At that point, he was oblivious to the vast microtonal knowledge that existed in academia.  He identified the Ptolemeic intervals if 5-limit just intonation, and began focusing on two other tuning options: one that used the overtone series, with more notes available in higher octaves than lower octaves, and another tuning with 19 notes equally spaced between each octave.  As a university student, Zupancic spoke with his professors about his "discovery" of these three "new" tuning systems, which were actually hundreds of years old and had been studied quite thoroughly well before Zupancic's birth.
+As a session musician in Detroit in the late 1990's, Zupancic became interested in microtuning after working with country musicians, who would habitually temper the tuning of their instruments to best suit the key of the song being recorded.  He then studied the sitar, and started working on developing a new tuning that could compromise between eastern and western tuning, with emphasis on sweetening the notes that country musicians tempered.  At that point, he was oblivious to the vast microtonal knowledge that existed in academia.  He identified the Ptolemeic intervals if 5-limit just intonation, and began focusing on two other tuning options: one that used the harmonic series, with more notes available in higher octaves than lower octaves, and another tuning with 19 notes equally spaced between each octave.  As a university student, Zupancic spoke with his professors about his "discovery" of these three "new" tuning systems, which were actually hundreds of years old and had been studied quite thoroughly well before Zupancic's birth.
 Zupancic then turned his attention to gauging the reasons why these other tuning options had existed for so long without any mainstream exposure in western culture, and formed the thesis that 12-EDO took over merely out of convenience, and began to champion 19-EDO as a system that deserved to exist as an alternative tuning.