[Smt-talk] Movable-Do subculture in the Romance tradition?

[Thomas Noll]

Dear Jay(!)
Re-Reading my quick posting I realized, that in a moment of inattention I didn't insert your name into the salutation. Let me assure that I'm well aware about your valuable contributions to algebraic music theory since several years. Apologies for my inattention!
Sincerely
Thomas Noll

> Dear John, 
> Many thanks for pointing to this very interesting article. 
> In this paper you seem to emphasize to a kind of "Hauptmannian" aspect in Curwen's Tonic SolFa, where the major scale appears as a triad of triads with the tonic triad in privileged the role of having singular overlaps with the other two triads which are mutually disjoint. 
> 
> Your counter-factual 19-Tone illustration is very suggestive and thought-provoking. The ideas is, that the (maximally even) C-, F#-, and Gb- Major scales within the 19 tone scale have an analogous intersection behavior as the C-, F- and G- major triads in the (generic) diatonic scale; and that the relative voice-leading behavior between these scales is analogous to that between the triads. It is challenging to understand, what makes particularly these combinatorial properties "tonal". I mentioned Hauptmann, because your construction seems still to exemplify properties upon which one could project the process of a dialectical triad in Hauptmann's manner. 
> 
> However, in the 19-Tone scale the extensions of three concepts fall apart, which have the same extension in the major scale: do, fa and so.
> (1) The roots of the three "Curwen scales" are C, F# and Gb.  
> (2) The three "major thirds" in the role of the "sensitive intervals" are here C-E#, Gb-B, and G-B#  . see section 4.4 in: http://www.mtosmt.org/issues/mto.11.17.1/mto.11.17.1.clampitt_and_noll.html
> (3) In the Ionian mode the Tones C, F, and G form a tetractys skeleton of the Ionian mode and the interval between F and G is the diazeuxis (i.e. the interval between the generator and its octave complement). This is still true for a fifth-generated 19-tone mode abaabaababa | abaabaab, (where a is an augmented prime and b a diminished second).
> The species of the "fourth" abaabaab (wich here has 8 microsteps) is a prefix of the species of the "fifth" abaabaababa (wich here has 11 microsteps). And the remaining factor is the "diazeuxus" aba. It is not a step, though, in the 19-tone world. 
> 
> The three triples of anchor notes are close but yet different  (1) C-F#-Gb, (2) C-Gb-G,  (3) C-F-G, 
> Sincerely
> Thomas Noll
> 
>> A study that relates Curwen's tonic sol-fa method to more recent formulations is accessible at:
>> 
>> http://pi.library.yorku.ca/dspace/handle/10315/6610
>> 
>> Jay Rahn, York University (Toronto)
>> 
>> --- On Mon, 7/16/12, Eytan Agmon <agmonz at 012.net.il> wrote:
>> 
>> From: Eytan Agmon <agmonz at 012.net.il>
>> Subject: Re: [Smt-talk] Movable-Do subculture in the Romance tradition?
>> To: smt-talk at lists.societymusictheory.org
>> Date: Monday, July 16, 2012, 7:39 AM
>> 
>> “Moveable Do” syllables are (melodic) scale degrees, that is, intervals from the tonic (reduced modulo the octave). The “tonic Sol-Fa method” was codified and disseminated by John Curwen in the 19th century. However, the idea dates back to the “octave species” of medieval modal theory (and ultimately Greek theory).
>> 
>>  
>> Eytan Agmon
>> 
>> Bar-Ilan University
>> 
>>  
>> 
>> 
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> 
> 
> 
> *********************************************************
> Thomas Noll
> http://user.cs.tu-berlin.de/~noll
> noll at cs.tu-berlin.de
> Escola Superior de Musica de Catalunya, Barcelona 
> Departament de Teoria i Composició 
> 
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> 
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> 
> 
> 



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Thomas Noll
http://user.cs.tu-berlin.de/~noll
noll at cs.tu-berlin.de
Escola Superior de Musica de Catalunya, Barcelona 
Departament de Teoria i Composició 

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