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bachus
Joined: Feb 29, 2004
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 Posted: Wed Jan 10, 2007 5:04 pm Post subject:
Oh dear!
Subject description: microtonal related |
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When I said, “I think I’ll do my next composition (a known subject) in an alternative tuning." the Mrs. gave a slight gasp in a tone of sorrow that came out with the words: “Oh dear.”
It makes one think. Eh?
As to my quoted statement above: Every time I think of the educational overhead of becoming proficient in a microtonal system, I change my mind and decide that learning to lay tile would be a lot of fun.
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seraph
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Posted: Thu Jan 11, 2007 12:45 am Post subject:
Re: Oh dear!
Subject description: microtonal related |
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| bachus wrote: | | Every time I think of the educational overhead of becoming proficient in a microtonal system, I change my mind and decide that learning to lay tile would be a lot of fun. |
 come on  there has never been a better period in history to explore microtonality and my guess is that it can funnier than lay tiles 
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bachus
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Posted: Thu Jan 11, 2007 6:41 am Post subject:
Re: Oh dear!
Subject description: microtonal related |
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| seraph wrote: | | there has never been a better period in history to explore microtonality |
I would not argue with that. I do think Equal Temperament is about mined out. But the learning curve remains a problem, Even a year of study would, at my age, represent a significant portion of my remaining productive years.
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seraph
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Posted: Thu Jan 11, 2007 6:58 am Post subject:
Re: Oh dear!
Subject description: microtonal related |
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| bachus wrote: | | Even a year of study would, at my age, represent a significant portion of my remaining productive years. |
Robert
it does not take years of preparation, you simply start doing different things and learn while doing them... and, of course, if I can be of any help...
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bachus
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Posted: Thu Jan 11, 2007 7:16 am Post subject:
Re: Oh dear!
Subject description: microtonal related |
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| seraph wrote: | | it does not take years of preparation, you simply start doing different things and learn while doing them... and, of course, if I can be of any help... |
I don’t know how that would work for me. I rely substantially on my inner ear to “report” to me what I should write down. My guess is that it would take both study and a great deal of intensive listening to get it to “change stations.”
I sincerely appreciate the offer of help and will ponder how best to use it. Thank you Carlo.
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udderbot
Joined: Jul 15, 2007
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| Posted: Thu Jan 24, 2008 8:12 pm Post subject:
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Hi,
I'm endeavoring to have a project this year that will attack that very problem you profess to have, or at least claims to. A microtonal pedagogy collective of people who will compose what is needed for each other to learn what we want to learn. Consider yourself invited!
http://xenharmonic.wikispaces.com/MicroPedagogyCollective
Not as fun as tiling? Not if I can help it! |
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seraph
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udderbot
Joined: Jul 15, 2007
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| Posted: Fri Jan 25, 2008 6:05 am Post subject:
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Well I know you have, Carlo 
The only people I know here already are the self-described microtonalists... |
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xjscott
Joined: Apr 25, 2007
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| Posted: Fri Jan 25, 2008 2:45 pm Post subject:
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| udderbot wrote: | | http://xenharmonic.wikispaces.com/MicroPedagogyCollective |
Hey Jacob, that page just has some stuff about a 31tET singing camp. That's something from the past right, you're not suggesting that learning to sing in 31tET is the best first step to take for those curious about microtonally? I would wonder that such a camp would be the best or most appropriate first step, or even second or third step actually... 
The page you linked to above there doesn't really explain what your collective is about other than info about that camp, perhaps some sort of explanation is needed there?
Regarding tiling, tiling is very interesting, especially to those who are both microtonalists and artists and there are strong connections to tuning:
http://www.sciam.com/article.cfm?chanID=sa003&articleID=EA6A6CC6-E7F2-99DF-370D2FEA2995DA0D&ref=rss
http://en.wikipedia.org/wiki/Tessellation
Anyway, Carlo hit the nail on the head with this:
| Quote: | | it does not take years of preparation, you simply start doing different things and learn while doing them |
That's exactly it. Just dive in. Don't go looking for directions because all the directions out there on how and what to do are just made up nonsense, like nearly everything else out of academia and it's non-reality based authoritarian edict based paradigm.
Here is the state of art: It's 1492 and you're looking for a map of the passage no India. The only maps available show sea monsters and made up lands from mythology that don't actually exist. In the meantime, the ship is leaving for the New World. You can get on it or not. If you get on it then you are an explorer. Nothing wrong with staying behind, but if you're looking for a map, it'll have to be a map you make yourself during your travels. |
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seraph
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| Posted: Sat Jan 26, 2008 2:48 am Post subject:
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| xjscott wrote: | Carlo hit the nail on the head with this:
| Quote: | | it does not take years of preparation, you simply start doing different things and learn while doing them |
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well, yes but knowing some theory helps. For example, when looking at intervals, being able to recognize that 702 cents means a 3/2 ratio helps even though it should be easy to realize that that interval is consonant by ear
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xjscott
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| Posted: Sat Jan 26, 2008 3:02 pm Post subject:
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Yes, that's true, and it's also something you can pick up fairly quickly as you go. What are ratios, what are cents, what is a comma. The basic terminology so you can talk with others and get your own thoughts straight in thinking about what you are doing. Not necessary is to learn about all the weird terminology that theorists come up with that is not actually used in any music. There's a lot of that stuff out there and it just provides a bunch of overhead while providing little to no technical or artistic value compositionally.  So I'm saying one can safely skip most claims being made about tuning and dive in since most of those claims are of little benefit. In particular, there is no point to studying exotic mathematical systems of predicting consonance and dissonance. But I'll claim there is one truth about this, and you can find that by reading the Plomp/Levalt paper, or reading about that paper and what it means in Bill Sethares' book Tuning Timbre Spectrum Scale. There are some that think music is about consonance and optimizing consonance and consonance this consonance that. Music that is entirely consonant generally sounds pretty dull though. All consonance music is about as interesting as all dissonance music. Life is more about contrasts and so is art. |
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seraph
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