Even more underrated is what your frame or theory says is there and how your choice of theory shapes what you assume to be there.
One of my favorite examples is gravity. We have three main theories that describe what it is, and what the universe is like, very differently:

1) classical mechanics
2) Relativity
3) quantum gravity
1) implies gravity is a force, 2) says gravity is the curvature of space-time, and 3) says gravity is the interaction of particles (i.e. gravitons).
They all make fundamentally different claims about the ontology of the universe and are incommensurable to an extent (see Quine/Duhem/Popper/Kuhn) but have a pretty high degrees of precision in prediction (well, maybe not 3) yet).
And until we have a TOE (Theory of Everything) they may remain so.

Side-Note: M-theories, one of the proposed candidates for a TOE each wildly postulate sometimes radically different types of universes each while possibly being able to encompass 2) and 3).
Theories are used for specific purposes, and even those with high levels of precision say fundamentally different things about their objects of study. Music theories no less.
Naturally, this is why I’m interested in Indigenous Knowledge Systems in different music and music theory ecosystems.
As usual, the Stanford Encyclopedia of Philosophy has a solid introductory article on the Incommensurability of Scientific Theories.

plato.stanford.edu/entries/incomm…
Incommensurability is related to the idea of indeterminacy of translation. I lean more on the side of "soft indeterminacy" of translation.

iep.utm.edu/indeterm/
Quote from Dylan Robinson's recent Open Letter, "To All Who Should Be Concerned."
erudit.org/en/journals/is…

x.com/Silpayamanant/…
Yeah, IKSs and other ways of thinking have been on my mind for literally decades.

Apropos of the example of gravity I used to illustrate how theoretical models serves to frame what objects exist, or to selectively determine salient phenomena we'll pick out for analysis.

I've used this example a lot over the years and have to say it's inspired by two things: 1) the Löwenheim–Skolem Theorem, and 2) the overdetermination of Superstring Theory.

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Probably the most accessible descriptions of these are in 1) pp. 271-272 of Morris Kline's "Mathematics: The Loss of Certainty" and 2) pp. 170-171 of Michio Kaku's "Hyperspace: A Scientific Odyssey Through Parallel Universes, Time Warps, and the 10th Dimension" (1994).

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Also substructural logics were useful tools for understanding how eliminating one or more rules from highly formal systems can radically alter the structure of them, and what can be derived from models built on them.

plato.stanford.edu/entries/logic-…
These can also give insights into or show how other formal systems could work--even in highly organized sytematic IKS from other cultures. I grew up Buddhist & Buddhist logical ideas like fourfold negation can be modeled in paraconsistent logics or dialethic systems, for example.
And that gets to the last big influence for the framing/ideas above. Buddhism & Buddhist epistemology/logic. Dignaga, Dharmakirti, & Nagarjuna are as much part my background cultural & knowledge as Soctrates, Plato, & Aristotle are for many Westerners.

A number these fundamental issues have come up in some discussions in this thread:
Have to admit that I almost switched to a philosophy major, and kinda glad I didn't. I did end up sitting in or auditing more course required of the philosophy major while an undergraduate. The Chinese Logic course finally convinced me that [Western] philosophy wasn't for me.
Though St. John's College <Master of Arts in Eastern Classics> (MAEC) program was extremely appealing to me around then.

Probably surprises no one. Image

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More from @Silpayamanant

Feb 15, 2023
While working on the database of Popular Music Schools, I came across a piece with a bio of the child prodigy Cecil Cowles (1893-1968) which stated that:

"In recent years [1920s-1940] Miss Cowles has been active in the field of composition, particularly in Oriental music."
A San Francisco Chronicle piece about Cecil Cowles from 17 June 1923 says: "The other occasion was a recital of her own in which she played her Song Without Words, In a Rickshaw , Chinese Dance and Valse Caprice..."

"Fifty Local Prodigies: 1906-1940"
archive.org/details/fiftyl…
The main thesis of my piece “Orientalism, Perpetually Foreign Musics, and Asian Exclusion” is that that the systematic exclusion of Asian/American musics led to a vacuum filled by racial fantasy works composed and performed by white Americans in both classical and popular musics.
Read 16 tweets
Jan 18, 2023
Normalize not centering Western Chord labels in Music Theory. In quintal harmony, it'd be a C2; In a quartal one it's a D5/2; not sus chords at all. Parallel seconds (and ninths) are way common in Eastern Orthodox traditions.

reddit.com/r/musictheory/…
"The notations of znamenny polyphony require a special approach to their transcription; but when correctly read the music of the ‘scores’ abounds in harsh sonorities in the form of extended parallel seconds & fifths.”

Brazhnikov, qtd in Swan "Russian Music & its Sources..." p45
“The voices enter at the interval of the second and, within a short period of time, four more vertical intervals of the second appear in a row. In the process, the voices cross.”

Vladislav Uspensky, quoted in Johann von Gardner's "Russian Church Singing" Vol. 2, pg. 316
Read 21 tweets
Jan 13, 2023
Apparently there were organs on planes.

"An organ was installed on a Northwest Stratocruiser in the 1950s through an arrangement with local musician Swanee Swanson. The organists received free flights to New York and other East Coast destinations."

content.govdelivery.com/accounts/MNORG…
Image
Page 43 of "Northwest Airlines: The First Eighty Years"

arcadiapublishing.com/Products/97807…
Image
"Anne Kerr (center) explained the location of the organ installed on one of the Stratocruisers to Dave and Wendy McCarthy."

Page 5 of "REFLECTIONS: The Newsletter of the NWA History Centre"
northwestairlineshistory.org/wp-content/upl…
Image
Read 32 tweets
Aug 5, 2022
Welsh Harp tablature from the *Robert ap Huw manuscript* (1613). The manuscript is the oldest extant source of primarily Late Medieval eisteddfod repertory that dates to 1340-1500 and was compiled by Robert ap Huw (c.1580-1665).

pbm.com/~lindahl/ap_hu…
Short segment on the *Robert ap Huw manuscript* in Rhodri McDonagh's wonderful "Welsh Trad Music | A Beginner's Guide" video (cued up to that segment below). The whole vid is worth a watch and is only 24 minutes.

Bangor University's "Music of the Robert ap Huw Manuscript" page with other resources for Cerdd Dant and other British Isles harp traditions.

bangor.ac.uk/music-and-medi…
Read 4 tweets
Aug 3, 2022
One of the things I love about Georgian Harmony is that it's based on what's essentially close to a functionally 7TET/EDO collection of pitches. Many global harmonic systems are built on different tuning systems than those in what's typically referred to as Western harmony.
The above image from Malkhaz Erkvanidze's "On Georgian Scale System" pg. 181

citeseerx.ist.psu.edu/viewdoc/downlo…
See also:
"Tonal Organization of the Erkomaishvili Dataset: Pitches, Scales, Melodies and Harmonies"

publishup.uni-potsdam.de/frontdoor/inde…
Read 7 tweets
Aug 3, 2022
Just looking the bi/polymusical course offerings at Thai Universities (sample below) in a Dissertation from 1998.

"Undergraduate Piano Pedagogy Course Offerings in Thai Universities" Chindarat Charoenwongse. University of Oklahoma.
shareok.org/handle/11244/5… Image
Bi/polymusical education ecosystems are far more common outside of Europe and North America.

H/T to @FergusonGuitar for this.

"Bi-musicality in modern Japanese culture"
Alison Tokita
doi.org/10.1177%2F1367…
Read 10 tweets

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