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On Fri, Feb 8, 2013 at 8:40 PM, David L. Craig  wrote:
> On 13Feb08:0755-0600, Stephen Stubbs wrote:

quoted text
>

> > On 2/8/2013 1:43 AM, david wrote:

> > >http://visual.ly/psychology-music?utm_source=visually_embed

> > >

> > 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.

>

[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
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On Fri, Feb 8, 2013 at 8:40 PM, David L.=

 Craig <dlc.usa@gmail.com> wrote:

On 13Feb08:0755-0600, Stephen Stubbs wrote:
> On 2/8/2013 1:43 AM, david wrote:

quoted text
> >http://visual.ly/psychology-music?utm_source=3Dvi=

sually_embed

quoted text
> >

> So now we have quantitative proof that the Ancient Greeks' views o=

n

quoted text
> 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.[Just a conj=

ecture] The western notes are different from the eastern.Speaking i=

n C-major-centric terms, a just-intoned Ab is 8/5, G# is 25/16. This is a d=

ifference 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 min=

or-sixth other than 800 cents hears it as such.The eastern ear auto-cor=

rects it up to the just-intoned 8/5.

I have been often mystified by the contradiction:Western theory ins=

ists on the distinction between G# and Ab (augmented fifth and minor sixth)=

. And then makes them into the same noteThe eastern ear easily hear=

s the difference and yet the theory (I am speaking for Indian) does not all=

ow the notes to exist!=A0 To an Indian music theoretician tivra-pa (G# or a=

ugmented fifth) is a contradiction in terms because pa (fifth, sol) is acha=

la -- unchangeable.

[As I said, just my conjecture]Rusi-- http://www.the-magus.in<=

br>http://blog.lang=

uager.org
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