On Mar 7, 4:51 am, SleepyHead <simonharp...@[EMAIL PROTECTED]
> wrote:
> On 5 Mar, 01:46, Jack Campin - bogus address <bo...@[EMAIL PROTECTED]
>
> wrote:
>
> > >> Anyone ever encountered Hypertonality, or Hypotonality (as terms,
> > >> not as hyperactive key changes in a piece :-).
> > > Hypertonality means having quarter tone intervals, so there are 34
> > > tones per octave, tuned in just intonation. This scale is derived
from
> > > generating a harmonic series on each successive pitch in a single
> > > harmonic series taken from a chosen fundamental.
>
> > That doesn't make any discernible sense. Quartertones are
incompatible
> > with both 34 tones to the octave and with just intonation.
>
> I agree that 12 TET quarter-tones are incompatible with the notion of
> 34 tones to the octave - but a quarter tone is (by definition) a
> quarter of one tone. So if you alter the definition of a 'tone' you
> alter the definition of what a quarter of a tone is.
Hi Sleepy,
I further agree that maybe the term here should have originally been
"micro tone" instead of quarter tone. It seems that the discussion has
****fted from the harmony of Hypertonality (I still find a good
definition on line) to the expression of 34 divisions of the octave
and I have seen nothing that addresses the Hypertonality! Has anyone
found an explanation of how this was used with the 52 strings players
in the Hiro****ma composition so that we can decide if this is indeed
even an example of this term? or any other compositions that this
definition would be applicable?
If they were stated, please re post. I may have missed them with my
visit to the other side.
LJS
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