Not sure what you are referring to as “Non establishment” ? and just clarify this research makes no claims in regards to history. History has been referenced as a precedent and a starting ground for this project.
The TSC was a case study of sound performance in Opera houses and western music halls. Purely based on the amount of data and information available on western classical music and the methodology that it has had throughout history it makes it an easier candidate to analyse and theories.
The structure and fundamental values of the music that you may be referring to as “non establishment music” would have major clash with the classical western approach to music. I emphasize the western classical music is a very specific and small niche of music history which with the help of the christian church it has been very well documented throughout the history. The music that was studied for this exercise was selected based on the amount of non-subjective and bias documents available. Knowing music is the most abstract art form, some debates become irrelevant if the discussion is on branches of this sophisticated art that don’t have fundamental commonalities. As an example East has a very different approach to music and sound than west. Folklore, gypsy or even street music have a completely DNA than the studied fraction of the world music.

Having said that, the goal of an instrument such as the TSC is to broaden the spectrum of sound available in contemporary music performance spaces. The sound rage made available by the TSC is absolutely dynamic and should be calibrated to expand the pallet available to the musician and the audience beyond western classical music.

History is just what we happen to have access to know about our past, while there is a lot of value to it, it is not absolute. In some ways it is an abstract aroma of what may have happened in the past. Now we just use it as a reference.

Thanks for showing your interest in this topic!