If I play sankyoku, I would want to match the "half-tones," whatever the
size and *musical context*, of the string instruments.
If I play solo honkyoku, I would want to internalize various meri intervals
for different musical contexts and different styles. And I would listen to
the meri pitches of the masters, being careful to avoid the Western trap of
assuming a particular meri has only one fixed interval.
My analysis of one Yokoyama meri for another shakuhachi list shows a
dynamic interval, constantly changing from 116 cents (a little more than a
Western tempered half-tone) to as wide as 145 cents (nearly 3/4 of a
Western tempered whole tone). And that's just one tone in one composition.
http://userpages.umbc.edu/~signell/take/
Karl
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