On 4/30/2012 11:47 AM, Jason Kanter wrote: > All right, let me weigh in here briefly. I really like the metaphors of > using a micrometer to measure a marshmallow, or finding the best tape to > stick the wind to a shadow. Sure, the physical world does not provide us > the ability for that much precise control. But the design of > temperaments is a mathematical thing before it is a practical activity, > and while it remains in the realm of math, the additional precision > helps make things "work out" theoretically. I doubt anyone who designs > temperaments has the conviction that the degree of precision actually > makes it into the instrument for more than perhaps five seconds per > interval, if that. > > That said, the math itself can be really beautiful. I have been working > on finding temperamental relationships that provide a high degree of > "beat synchrony" -- that is, for example, when you play a major triad, > the inner thirds (major third and minor third) beat in time with each > other, either 1:1 or 2:1 or 3:2, creating a very pleasing tremolo-like > pulsing sound. I'm sure you all have experienced this by happenstance > with some chords, and it is in fact possible to design a temperament in > which this phenomenon happens a lot. But the math goes to two decimal > points (at least) to find this exactitude, and I don't dream that the > phenomenon will remain for long or even be noticeable much. Still, the > intellectual beauty is worth pondering. And in my experience, a > sensitive artist can be very deeply moved by the quality of the tuning, > hearing musical depths that he or she never before experienced. Sure, I understand, and well put. And if you didn't take it to two decimal places, someone would surely complain. I had no problems with this at all. Ron N
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