If anything, I've gotten worse at identifying whether or not something is in 12edo since diving into microtonality over the past 2 years.MalToné wrote: ↑Tue Sep 01, 2020 4:24 am @Leonard Bowman
... But I'm curious, say if you listened to music or compose with non-traditional tunings like 34edo or others, can you recognize them when you hear them as you might learn to recognize chord types or intervals in more traditional harmony? I suppose that you would since microtonal and alternate tunings have been around for centuries and are just considered "normal" if that's what' you learn and play.
Some people are said to have perfect pitch, but if pitch and octave division is a cultural or aesthetic construct, do people with perfect pitch hear unfamiliar tuning systems as something horribly out of tune, or do they just hear it and appreciate it for what it is?
Most of the theory of 12edo still works in other tunings - you just have more intervals and chord possibilities. I didn't use too much out of the ordinary in this piece, but I can recognize some of the "new" intervals. Many still go over my head or just sound bad to me at the moment. Other times, I perceive the tuning as a part of the timbre - like in my OSC 129 piece.
I think the perfect pitch thing depends on the individual - Jacob Collier famously has perfect pitch and sings outside of 12edo in much of his music. Others might find it strange.
But also if you wanted stereo unison, you need to use L-R or Wide filter configuration. Or are you talking about detuning offsets?
