Contextual Xenharmonics
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Contextual Xenharmonics is a theory that seeks to explain how we hear differently as individuals, why things sound the way they do to some and not others, and how to manipulate these experiences into what we want to tap into a new potential as xen-musicians. Since this is a new developing theory, not much is known. This page seeks to update whatever we learn until then. ==Contexts== Contexts are situations that affect largely how we hear and interpret musical things. In contextual xenharmonic, this is the main thing we study. This is things such as motifs, songs etc... ==Elements== These are the things like musical progressions, scales, chords and tuning systems. ==Categories== Categories are places where elements relate to one another. For example major third and minor third both sound like thirds not fourths to most people. TYPES **Interval Categories:** Thirds, Sixths, etc... **Duality:** Two types of something exist sounding like it belongs to the same context. Such as major and minor thirds. **Triality:** Three types of something exist in the same class. etc... ==Projection== Projection means to play something in a tuning system it wasn't written for whether it accompanies it or not. ==Context Activator== A short musical segments designed to evoke the listener to interpret something in a specific way or train their ear. ==Effects== Effects are various situations in which a known context by the listener is altered in some way that is perceivable. TYPES: **Squash and Stretch**: This is the feeling that a familiar element has been perceivably stretched or compressed yet still seems to work regardless of how good or bad it sounds. Examples are 13 EDO which seems to exhibit a fair amount of squash and stretch despite it's fun house familiarity to 12 edo. **Oblique Squash and Stretch** on the other hand is like Superpyth where the large interval is stretched and the small ones squashed. **Melodic Disjunct:** The effect where a melodic element is distorted in a non uniform way such that some sounds become narrower and some wider usually without pattern. For example if we interpret 000 250 450 500 650 as C D E F G in terms of the major scale, we hear the melodic disjunct as G is narrower yet D and E are super far apart comparatively to F G which are much closer together. **Melodic Overshoot/Undershoot**: A melodic element partially works with some pieces missing something expected but landing close to it. **Timbral Roughness:** Element works movement wise but is rough in it's timbral quality. For example, using 720 cent as a 3/2 evokes a roughness yet feasibly works in context where it is established as such. **Musical Limbo :**A particular element seems to work in a given context but the brain interprets it as also working as something else simultaneously forming a confusion.
Original HTML content:
<html><head><title>Contextual Xenharmonics</title></head><body>Contextual Xenharmonics is a theory that seeks to explain how we hear differently as individuals, why things sound the way they do to some and not others, and how to manipulate these experiences into what we want to tap into a new potential as xen-musicians.<br /> <br /> Since this is a new developing theory, not much is known. This page seeks to update whatever we learn until then.<br /> <br /> <!-- ws:start:WikiTextHeadingRule:0:<h2> --><h2 id="toc0"><a name="x-Contexts"></a><!-- ws:end:WikiTextHeadingRule:0 -->Contexts</h2> Contexts are situations that affect largely how we hear and interpret musical things. In contextual xenharmonic, this is the main thing we study. This is things such as motifs, songs etc...<br /> <br /> <!-- ws:start:WikiTextHeadingRule:2:<h2> --><h2 id="toc1"><a name="x-Elements"></a><!-- ws:end:WikiTextHeadingRule:2 -->Elements</h2> These are the things like musical progressions, scales, chords and tuning systems.<br /> <br /> <!-- ws:start:WikiTextHeadingRule:4:<h2> --><h2 id="toc2"><a name="x-Categories"></a><!-- ws:end:WikiTextHeadingRule:4 -->Categories</h2> Categories are places where elements relate to one another. For example major third and minor third both sound like thirds not fourths to most people. <br /> <br /> TYPES<br /> <br /> <strong>Interval Categories:</strong> Thirds, Sixths, etc...<br /> <br /> <strong>Duality:</strong> Two types of something exist sounding like it belongs to the same context. Such as major and minor thirds.<br /> <strong>Triality:</strong> Three types of something exist in the same class. <br /> etc...<br /> <br /> <!-- ws:start:WikiTextHeadingRule:6:<h2> --><h2 id="toc3"><a name="x-Projection"></a><!-- ws:end:WikiTextHeadingRule:6 -->Projection</h2> Projection means to play something in a tuning system it wasn't written for whether it accompanies it or not.<br /> <br /> <!-- ws:start:WikiTextHeadingRule:8:<h2> --><h2 id="toc4"><a name="x-Context Activator"></a><!-- ws:end:WikiTextHeadingRule:8 -->Context Activator</h2> A short musical segments designed to evoke the listener to interpret something in a specific way or train their ear. <br /> <br /> <!-- ws:start:WikiTextHeadingRule:10:<h2> --><h2 id="toc5"><a name="x-Effects"></a><!-- ws:end:WikiTextHeadingRule:10 -->Effects</h2> Effects are various situations in which a known context by the listener is altered in some way that is perceivable.<br /> <br /> TYPES:<br /> <br /> <strong>Squash and Stretch</strong>: This is the feeling that a familiar element has been perceivably stretched or compressed yet still seems to work regardless of how good or bad it sounds. Examples are 13 EDO which seems to exhibit a fair amount of squash and stretch despite it's fun house familiarity to 12 edo. <strong>Oblique Squash and Stretch</strong> on the other hand is like Superpyth where the large interval is stretched and the small ones squashed.<br /> <br /> <strong>Melodic Disjunct:</strong> The effect where a melodic element is distorted in a non uniform way such that some sounds become narrower and some wider usually without pattern.<br /> For example if we interpret 000 250 450 500 650 as C D E F G in terms of the major scale, we hear the melodic disjunct as G is narrower yet D and E are super far apart comparatively to F G which are much closer together. <br /> <br /> <strong>Melodic Overshoot/Undershoot</strong>: A melodic element partially works with some pieces missing something expected but landing close to it. <br /> <br /> <strong>Timbral Roughness:</strong> Element works movement wise but is rough in it's timbral quality. For example, using 720 cent as a 3/2 evokes a roughness yet feasibly works in context where it is established as such.<br /> <br /> <strong>Musical Limbo :</strong>A particular element seems to work in a given context but the brain interprets it as also working as something else simultaneously forming a confusion.</body></html>