User:VectorGraphics/Xenharmonic gaslighting

There is an important characteristic of my approach to xenharmonic composition, theory, notation, etc, that defines a lot of my opinions:

When I'm working in another system, diatonic/12edo/whatever part of Western convention I'm deviating from does not exist, and has never existed.

Essentially, each theory system essentially exists in its own little universe where no other theory system exists or is the standard. This is the logic behind:

• Using quasi-diatonic MOS notation: it's not ambiguous with diatonic because diatonic does not exist.
  • Calling a large 2-mosstep a "major third" regardless of the actual interval size.
• Using # to raise pitch in 16edo: the difference between the minor and major third is 9 fifths; it's always been.
  • Calling an interval in the vicinity of 400c in size a "major third" regardless of the actual scale pattern.
• Considering 720c in 15edo or even 20edo to be a 3/2 interval: it's close enough to 3/2 to fool an entire musical tradition into believing that it is, similarly to 400c and 5/4 IRL.
• Insisting that diamond-mos notation be used for diatonic: what even is this about "diatonic is the standard" and "we need to be backwards compatible"?
• Insisting on using a non-MOS notation for 15edo: in what universe is having only 2 varieties of intervals significant? I <3 wolf fifths
• Insisting on calling said non-MOS (zarlino) a kind of "diatonic".

• And probably other things I'll get around to remembering eventually.