3 ms·
It's very possible that the averages over the population we see in the paper reflect a gradient of musical experience rather than an abstract notion of "pleasan
by pclmulqdq 3y ago
It's very possible that the averages over the population we see in the paper reflect a gradient of musical experience rather than an abstract notion of "pleasantness." Many trained musicians I know with a great ear have a very hard time with non-ET fifths and thirds, even knowing that ET is a grand compromise (all tunings are). We must learn through exposure - and admonitions from teachers to have better intonation - that ET is correct and everything else is wrong.
I also have to say that the idea of making "pleasant" intervals is a bit reductive to begin with: unequal temperament tunings in modern use are often chosen to give a piece a particular "color" regardless of how "pleasant" the intervals are in a vacuum.
- srcreigh 3y agoAgreed. Western musicians have a sort of indoctrination/familiarity towards ET, leaving the untrained folks better equipped to recognize Just intoned harmony. Also agreed re: pleasant intervals. My favourite example (which I have posted before) is this Mozart piece in 6th comma meantone. The back and forth between dissonance and pure harmonic resolution with great 3rds tuning is extraordinary. Anyone, give it one listen, you will be convinced. https://youtu.be/lzsEdK48CDY?si=rtBE-M0cCRQsDHNx&t=700 https://youtu.be/lzsEdK48CDY?si=rtBE-M0cCRQsDHNx&t=700 (Note the last, cheerful section was added after mozart's death.)
- pclmulqdq 3y agoI don't personally like the tuning on that - it feels a little too rough. However, many classical and even romantic-period composers had pianos tuned in Werckmeister, Kirnberger, or Vallotti temperaments, which had toned-down versions of similar dissonances you hear here (similar to the second rendition of the Mozart in that video).