source file: m1416.txt Date: Thu, 14 May 1998 18:23:02 -0400 Subject: RE: threeness and more From: "Paul H. Erlich" Patrick Ozzard-Low wrote, >But I'll assume you are assuming complex harmonic tones. Right >I would therefore ask Paul whether, when he does the experiment using >timbres as different from each other as a french horn or an oboe or a >guitar or cello, this gives differing results? I think my point would be made with any of those timbres. Daniel Wolf wrote, >Erlich is right that you are not going to pick the 'threeness' out of .1 >cents stops between a moving and a fixed sine wave. I was thinking complex tones. >'Threeness' is going = >to >have to be heard contextually, that is, an 81/64 will be heard as a 3/2 >above a pitch understood, again contextually, to be 27/16 above a known >tonic. Yes, exactly. Contextually, not acoustically.