source file: mills2.txt Date: Tue, 1 Jul 1997 18:13:38 +0200 Subject: Re: Limits, Octave equivalence From: Daniel Wolf Gary Morrison wrote: '' An easy example to hear occurs when I practice singing the distinction between 6:5 and 7:6 thirds. After I sing and think about nothing but those two intervals for five minutes or so, I find that the 6:5 starts having the sensation I normally associate with 5:4. "Sensation" in the sense that I'm inclined to momentarily misidentify 6:5 as 5:4 - an auditory illusion in essence. And further, when I suddenly toss into the mix a 5:4, it startsseeming like a 4:3, and 3:2 seems like an octave. '' I have heard similar stories from La Monte Young, for whom the 9:8 has come to function as a boundary interval analogous to the 4:3 in classical tetrachords, and from Morton Feldman, who claimed that his use of tightlypacked chromatic clusters had so changed his perception of intervals thatthe minor second was, for him, as perceptually wide as a minor third had previously been. Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Tue, 1 Jul 1997 18:15 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA02189; Tue, 1 Jul 1997 18:15:54 +0200 Date: Tue, 1 Jul 1997 18:15:54 +0200 Received: from ella.mills.edu by ns (smtpxd); id XA02182 Received: (qmail 20657 invoked from network); 1 Jul 1997 16:04:39 -0000 Received: from localhost (HELO ella.mills.edu) (127.0.0.1) by localhost with SMTP; 1 Jul 1997 16:04:39 -0000 Message-Id: <199707011159_MC2-1991-4E6B@compuserve.com> Errors-To: madole@mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu