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Re: place pitch and temporal pitch

Dear Martin

Is there any experimental evidence on this? I'm very curious, because I have
several examples on music cultures where the octave is very weak. In western
Georgian songs and instrumental music the fifth is far more common than the
octave. There is no singing in parallell octaves at all, (men, women or
together). The fifth is also the only interval that is stable. Fifth doubling
is very common. Parallell doubled fifth is the main feature of the church
songs. And there is no octave based scale that can explain the tonality in
western Georgian songs.


Citerar Martin Braun <nombraun@TELIA.COM>:

> Dear Johan, and others,
> > Thank you for the interesting discussions on place pitch vs temporal
> > pitch. From a musicological point of view, I'm not convinced that the
> > terms "pitch height" vs "chroma" is so easy as it is usually described. I
> doubt that only the octave has the quality attached to "pitch height". There
> are numerous music styles where the quint (2:3) has that same quality and
> where the octave never occurs at all.
> Last year we had collective inquiries concerning historical evidence on the
> list of the Society of Music Theory (ca 1200 members) and concerning
> ethnological evidence on the list of the Society of Ethnomusicology (ca 500
> members). There were many contributions on both lists. In the end it turned
> out that we had not one single case of a musical culture were the fifth has
> the role that the octave has in all large music cultures.
> http://listserv.indiana.edu/cgi-bin/wa?A1=ind0305c&L=sem-l&D=0&H=0&O=T&T=0
> http://listserv.indiana.edu/cgi-bin/wa?A1=ind0305d&L=sem-l
> http://listserv.indiana.edu/cgi-bin/wa?A1=ind0305e&L=sem-l&D=0&H=0&O=T&T=0
> http://listserv.indiana.edu/cgi-bin/wa?A1=ind0306a&L=sem-l
> Martin
> --------------------------------
> Martin Braun
> Neuroscience of Music
> S-671 95 Klässbol
> Sweden
> web site: http://w1.570.telia.com/~u57011259/index.htm