joel taylor wrote:
thanks for the interesting post, Joel
>
> Justin, in the US and Europe the avante-garde microtonally saturated
> "free music" ...
> I use laptop that listens to whatever comes into it's microphone port
> (my shakuhachi, but also just whatever is in the air) via a pitch
> and envelope detector that uses a moveable Do version of Partch's
> 43-tone per octave tuning system. Many electronic musicians use
> complex tuning systems that are not 12-TET.
>
As a Parch fan (though not one that claims to have the ability to pick
out pitches at will from the 43 tone scale) I'd love to hear that
> The studies that have been done of classical musicians in various
> traditions (european, and carnatic classic musicians) that show a
> low-frequency (1 over F) based randomness to the microtonal
> fluctuations in tuning that professional players make during performance
Interesting; I hadn't heard about those studies (wonder if it's somehow
related to the result that analysis of the works of accomplished
composers apparently yields a 1/f spectrum re. pitch distribution) and
it sounds sort of counterintuitive unless I'm misunderstanding something
(usually the case !). Is that study really saying that pitch
fluctuations for professional players increase with decreasing frequency
(as a power law even) !? Somehow it would seem that fluctuations at
lower frequency would be more audible and hence players would struggle
more to "correct" them but maybe that's wrong. Perhaps there's some
funny uncertainty principle going on saying that the product of
frequency fluctuation bandwidth and duration are bounded below; given
that it's harder to pin down low frequencies via shorter playing
duration...
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