Contextual Xenharmonics
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- This revision was by author k9assassin and made on 2017-01-29 18:50:18 UTC.
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Original Wikitext content:
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. ==Effects== Effects are various situations in which a known context by the listener is altered in some way that is perceivable. ==Projection== Projection means to play something in a tuning system it wasn't written for whether it accompanies it or not. 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 familiar 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 sort of close together. **Overshoot/Undershoot**: A familiar element partially works with some elements missing something expected but landing close to it.
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-Effects"></a><!-- ws:end:WikiTextHeadingRule:4 -->Effects</h2> Effects are various situations in which a known context by the listener is altered in some way that is perceivable. <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 /> 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 familiar 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 sort of close together.<br /> <br /> <strong>Overshoot/Undershoot</strong>: A familiar element partially works with some elements missing something expected but landing close to it.</body></html>