Well, interesting, yes, but do many people remember Harry Partch and his work with microtonal music in the ’50s and ’60s?
The premise is a little flawed, in that equal temperament is a compromise or adjustment from mathematically exact tuning in which the octave vibrates at the ration of 1:2, the fifth at 2:3, the fourth at 3:4 and so on. However, since tuning by ratio doesn’t result in a temperament that allows keyboard players to modulate freely using only 12 divisions of the scale, equal temperament became the most usual compromise.
In this case, since (as I understand it) the double octave has been divided into 13 intervals, each interval will be relatively wide, resulting in more consonance. The most dissonant interval used in most western art music, the minor second, has been eliminated, which may explain some of the the appeal of this new tuning system.
Thanks for bringing in this topic; it’s fun to see how people are experimenting and exploring!
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