Nice job Phil though I must say I think some of the psychological
effects of just intonation are perhaps subtler than you suggest. Maybe I
just have a tin ear (though I paid my way through college as a
journeyman musician so perhaps it's at least of a slightly higher grade
alloy) but when I programmed up some scales and intervals on my pc to
see how well I could hear the difference between equal tempered tuning
and just intonation some of the differences were easy to hear but
others were surprisingly hard for me to distinguish (it was a long time
ago and I now forget which was which but you've piqued my interest and I
may go back and investigate)
> There seem to be some confusions on this list about the theory and
> practice of Western tunings. So here's the Cliff's Notes:
>
> Until tempered tuning, the intervals (differences between pitches) was
> unequal - in a particular key, the pitch distance from a D to an F,
> for instance, was not not necessarily the same as from an A to a C.
> Intervals were derived from the overtone series, or from integral
> relationships between pitches (a string length that is a simple
> fractional relationship to another string length, for instance), or
> from other natural or arbitrary bases...
-- Karl Young University of California, SF Phone: (415) 221-4810 x3114 lab VA Medical Center, MRS Unit (114M) (415) 750-9463 home 4150 Clement Street FAX: (415) 668-2864 San Francisco, CA 94121 Email: kyoung at itsa ucsf edu_____________________________________________
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