19 Feb
2013
19 Feb
'13
4:22 a.m.
On Fri, Feb 8, 2013 at 8:40 PM, David L. Craig <dlc.usa(a)gmail.com> wrote:
On 13Feb08:0755-0600, Stephen Stubbs wrote:
[Just a conjecture]
The western notes are different from the eastern.
Speaking in C-major-centric terms, a just-intoned Ab is 8/5, G# is 25/16.
This is a difference of more than 1/3 semitone.
On an equal-tempered keyboard that note is half-way between ie 800 cents.
My conjecture is that the western ear not being familiar with any
minor-sixth other than 800 cents hears it as such.
The eastern ear auto-corrects it up to the just-intoned 8/5.
I have been often mystified by the contradiction:
Western theory insists on the distinction between G# and Ab (augmented
fifth and minor sixth). And then makes them into the same note
The eastern ear easily hears the difference and yet the theory (I am
speaking for Indian) does not allow the notes to exist! To an Indian music
theoretician tivra-pa (G# or augmented fifth) is a contradiction in terms
because pa (fifth, sol) is achala -- unchangeable.
[As I said, just my conjecture]
Rusi
--
http://www.the-magus.in
http://blog.languager.org
On 2/8/2013 1:43 AM, david wrote:
So now we have quantitative proof that the Ancient Greeks' views on
music were correct.
Music is not an art but a science, with well defined laws that
enable the musician to induce specific effects and emotions in the
listener.
So explain how Western peoples feel sad in minor keys
while Middle Eastern peoples do not, just to mention
one non-universal emotional reaction.