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I just found this because I'm getting pretty sick of 12TET. My brain needs a break and the chance to move on to something different. I'm just grateful that I'm no longer beholden to Google as a means to find things and there're some legitimately good AI search tools being developed.

That's my impression too. The haters puzzle me -- they must be mixed up about what music is.

Laughing

It leads to a parallel universe where everyone's tone-deaf 😬

@@ChrisCherchant that might be literally true. Pop music and modern, not avant-garde classical used to have some of the best composition in the world. Now you have academic avant garde classical, and pop music written by people who never played classical

​i try to appreciate music in a source agnostic manner.

1- this is beautiful 2- not all music needs to be beautiful

_Ok guys who's going to tell him?_

Harry Partch uses a tuning system of his own invention. It’s 43-tone unequal temperament. From his point of view, you’re the one who’s out of tune lol

What

@basteAndTurkeypilled: Yeah, this is pretty awful. But people can pretend to like it all they want. I'll keep listening to _The Art of Fugue_ instead.

Actually it's quite accessible, repetitive and memorable music. The only piece of music that could possibly correspond to your comment would maybe be Cage's Music of Changes

@@Nilmand: Repetitive, yes; accessible or memorable, absolutely not. This is just pure garbage that people pretending to be intelligent try to convince others is good.

@basteAndTurkeypilled: Just intonation is absolute garbage. Anyone trying to make music in just intonation has totally missed how music actually works. Intervals need room to resonate, not just be perfect intervals; when you try to use just intonation to make music it becomes dull and lifeless due to how movement between various intervals no longer provides any progressive quality. There are numerous scholars who have proven beyond any doubt, both on a mathematical and physical basis, that 12-TET is the only tuning system that provides the perfect amount of resonance. These excerpts from _Interference: A Grand Scientific Musical Theory_ by Richard Merrick should make the matter abundantly clear: *_«In general, the interference equation can be used to measure resonant amplitudes for any musical interval under any temperament or octave division. This equation tells us that minimum resonance occurs at the fourth root of an octave (or square root of twelve) while maximum resonance occurs at the cube root of half an octave. Taken together, these results offer clear evidence that harmonic interference balances naturally around 12 as the most rational and harmonic number possible.»_* *_«We find here the most amazing thing. The arithmetic mean converges toward PI, or mathematical constant π ≈ 3.14159, located in the middle of the curve. We further find this point in the distribution curve to be equal to Unity (or 1) when the domain value X = 12. This is significant because twelve is the square root of 144, the value shared by both harmonic and Fibonacci series in a 12-step octave. Squaring each of the table values and dividing by twelve confirms that 12.02383 ≈ 12 is the point of balance between foreground and background._* *_The significance of twelve as a point of balance in the octave interference pattern is proven further by plugging it into the equation, confirming the curve height equal to Unity at the octave. But even more significant than this is the fact that plugging the square root of twelve into the equation results in the amplitude y = 5.0666. Care to guess what this number represents?_* *_It is none other than the y-axis amplitude for the golden ratio in an octave. Yes, the square root of twelve in the Gaussian interference pattern occurs precisely at Φ, right in the “cracks between the keys” of a major 3rd and minor 3rd in an octave. Just like the dense lattice region between a major 6th and minor 6th, the infinite golden ratio also provides an anti-harmonic proportion in the lower half of an octave. This occurs naturally at the square root of 12 (or fourth root of 144) in a 12-step octave._* *_No matter how you do the math, both harmonic and Fibonacci series reach a harmonic balance with one another at n=12 and an anti-harmonic dead zone at n=√12. Division of the octave by twelve (not eleven, nineteen or any other number) is revealed here as a completely natural pattern produced by linear harmonics that are curved in pitch space by Fibonacci proportions as they converge to Φ. Could Gioseffo Zarlino’s decision to divide the octave into twelve steps have involved some knowledge of this simple relation between harmonics and the Fibonacci series?»_* *_«As a surprising correspondence between music and math, this little trick reveals the Pythagorean comma accurate to 3 decimal places. More amazing still, if we recalculate using the un-rounded arithmetic mean 12.02383 found earlier in place of 12, we obtain a slightly better estimate for the Pythagorean comma good to 4 decimal places. This bizarre associative property in the interference equation using the anti-harmonic golden ratio location of n=√12 proves the golden ratio is a physical property in the natural harmonic series and not some kind of error or “evil” in nature as portrayed by the Church. Vibration needs room to resonate in space and the Pythagorean comma created by the golden ratio appears to be just the right amount of room needed.»_*

@@hoon_sol I don't care, you can think what you want, but if the piece is repetitive and full of patterns with just a few listenings it would be predictable and easy to tell if something is wrong, responding to the original commenter