Hi Haresh,

I'm afraid we are losing one another.

Before I attempt to address what you write below, perhaps you could
go back to message #698 and answer my questions there? Note that in
my answer to (iv) there I forgot the "relative" part, but all the
correct values can be found under my answer to (vi) anyway.

Thanks,
Paul


--- In harmonic_entropy@yahoogroups.com, "Haresh BAKSHI"
<hareshbakshi@h...> wrote:
> --- In harmonic_entropy@yahoogroups.com, <vilaalbert@h...> wrote:
> >>>> .........
> > Looking forward to more, >>>>
>
> Indeed, there is more.
>
> Hello ALL, I request Paul and other Group members to test the
veracity of the eight audacious statements I am making below. Your
remarks will be very valuable.
>
> RHE and Raga-s
> ==============
>
> A raga is a non-stochastic arrangement of notes. The improvisation
of a raga is a process in which every future note to be performed
depends not only on the present note being performed, but also on how
this present note was arrived at.
>
> Inferences from the above statements:
>
> (1) the larger the number of notes in a raga, the greater is its
Harmonic Entropy. Obviously, it follows that vivadi (omitted) notes
lower the Harmonic Entropy.
>
> (2) The greater the number of random ways in which we can combine
the notes, the greater is the raga's Harmonic Entropy.
>
> (3) The greater the distance of the notes from the Sa (tonic), the
greater is the raga's Harmonic Entropy.
>
> (4) The greater the specificity -- and consquent recognizability --
of a raga, the lower its Harmonic Entropy. This is because, one
recognizes a raga from (i) the way and (ii) the order in which its
constituent notes are ordered. This reduces randomness. This is where
the "jumps" I referred to in the previous email, comes into play.
These "jumps" lower the Harmonic Entropy of the raga.
>
> (5) The longer one stays on a note, the lower the Harmonic Entropy
gets. This happens all the time, because the vadi and samvadi notes
are stayed on longer -- even some other notes are stayed longer on,
too, depending upon the requirements of a raga. Similarly, vivadi
(omitted) notes lower the Harmonic Entropy. At the end of every alap
(phrase), we come back to Sa (tonic), resulting in minimum entropy.
>
> (6) The greater the number of times a note is repeated, the lower
the Harmonic Entropy gets. As an example, Ga-Ga has a lower Harmonic
Entropy than Ga-Pa.
>
> (7) The greater the use of embellishments [ornaments like gamaka,
meend (glissando), murki etc.], the greater the Harmonic Entropy.
>
> (8) The greater the use of vowels and consonants, the greater the
Harmonic Entropy. The vowel normally used is singing is 'aa'.
Variations are achieved by the use of 'ee', 'o', 'e' (as in "sEt"),
and sometimes 'oo'. The use of consonants implies using the words of
the composition used during singing.
>
> (9) The greater the correctness of the notes (as JI frequencies),
the lower the Harmonic Entropy.
>
> As regards the math of Harmonic Entropy, I am acutely aware of my
ignorance. But I have depended heavily on my experience and
intuition, and on the fact that I can depend on the Harmonic Entropy
pundits.
>
> Regards, and thanks for your time,
> Haresh.