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just intonation | A Wisdom Archive on just intonation | | just intonation A selection of articles related to just intonation | |
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just intonation
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| ARTICLES RELATED TO just intonation | | | |  just intonation: Encyclopedia II - Timbre - EnvelopeThe timbre of a sound is also greatly effected by the following factors: attack or Interonset interval, decay, sustain, release, and transients. Attack, decay, sustain, and release are thus all common controls on samplers. For instance, if one takes the attack off of the sound of a piano or trumpet, one much less readily identifies the sound correctly, since the sound of the hammer hitting the strings or the first blat of the players lips are highly c ...
See also:Timbre, Timbre - Terms, Timbre - American Standards Association definition, Timbre - Attributes, Timbre - Spectra, Timbre - Envelope, Timbre - In music, Timbre - Sources Read more here: » Timbre: Encyclopedia II - Timbre - Envelope |
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| | | | | | just intonation: Encyclopedia II - Barbershop music - Female Barbershop music and Beautyshop quartets Traditionally, the word "barbershop" has been used to encompass both men's and women's quartets singing in the barbershop style. Harmony, Inc. calls itself "International Organization of Women Barbershop Singers" while Sweet Adelines Incorporated call itself"organization of women singers committed to advancing the musical art form of barbershop harmony."
Recently, some women's quartets, particularly in U. S. schools, have begun to use the term "beautyshop quartets" for women's quartets singing in the barbershop style.[citation needed]
Notab ...
See also:Barbershop music, Barbershop music - Historical origins, Barbershop music - Female Barbershop music and Beautyshop quartets, Barbershop music - Organizations, Barbershop music - Notable artists, Barbershop music - Quartets, Barbershop music - Choruses, Barbershop music - Typical Barbershop Songs Read more here: » Barbershop music: Encyclopedia II - Barbershop music - Female Barbershop music and Beautyshop quartets |
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| | | | | just intonation: Encyclopedia II - Mathematics of musical scales - Just intonation If we take the ratios constituting a scale in just intonation, there will be a largest prime number to be found among their prime factorizations. This is called the prime limit of the scale; a scale which uses only the primes 2, 3 and 5 is called a 5-limit scale. Below is a typical example of a 5-limit justly tuned scale, one of the scales Johannes Kepler presents in his Harmonice mundi or Harmonics of the World of 1619, in connection with planetary motion. The same scale was given in transposed form by Alexander Malcolm in 1721 and theorist ...
See also:Mathematics of musical scales, Mathematics of musical scales - Pythagorean tuning, Mathematics of musical scales - Just intonation, Mathematics of musical scales - Temperament, Mathematics of musical scales - Equal temperament, Mathematics of musical scales - Sound samples, Mathematics of musical scales - Source Read more here: » Mathematics of musical scales: Encyclopedia II - Mathematics of musical scales - Just intonation |
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| | | | | just intonation: Encyclopedia II - Timbre - In music Timbre is often cited as one of the fundamental aspects of music. Formally, timbre and other factors are usually secondary to pitch. "To a marked degree the music of Debussy elevates timbre to an unprecedented structural status; already in L'Apres-midi d'un Faune the color of flute and harp functions referentially," according to Jim Samson (1977). Surpassing Debussy is Klangfarbenmelodie and surpassing that the use of sound masses.
Erickson (ibid, p.6) gives a table of subjective experiences and related physical phenomena b ...
See also:Timbre, Timbre - Terms, Timbre - American Standards Association definition, Timbre - Attributes, Timbre - Spectra, Timbre - Envelope, Timbre - In music, Timbre - Sources Read more here: » Timbre: Encyclopedia II - Timbre - In music |
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| | | | | just intonation: Encyclopedia II - Terry Riley - Life Born in Colfax, California, Riley studied at Shasta College, San Francisco State University, and the San Francisco Conservatory before earning an MA in composition at the University of California, Berkeley, studying with Seymour Shifrin. His most influential teacher, however, was the late Pandit Pran Nath, a master of Indian classical voice, who also taught La Monte Young and Marian Zazeela. Riley made numerous trips to India over the course of their association to study and to accompany him on tabla, tambura, and voice. Throughout the sixti ...
See also:Terry Riley, Terry Riley - Life, Terry Riley - Musical style and techniques, Terry Riley - Notable works Read more here: » Terry Riley: Encyclopedia II - Terry Riley - Life |
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| | | | | | just intonation: Encyclopedia II - Musical acoustics - Sound waves Variations in air pressure against the ear drum, and the subsequent physical and neurological processing and interpretation, give rise to the experience called "sound". Most sound that people recognize as "musical" is dominated by periodic or regular vibrations rather than non-periodic ones (called a definite pitch), and we refer to the transmission mechanism as a "sound wave". In a very simple case, the sound of a sine wave, which is considered to be the most basic model of a sound waveform, causes the air pressure to increase and decrease ...
See also:Musical acoustics, Musical acoustics - Methods and fields of study, Musical acoustics - Sound waves, Musical acoustics - Harmonics partials and overtones, Musical acoustics - Harmonics and non-linearities, Musical acoustics - Harmony, Musical acoustics - The natural scale, Musical acoustics - The equal tempered scale, Musical acoustics - Cent values of equal temperament Read more here: » Musical acoustics: Encyclopedia II - Musical acoustics - Sound waves |
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| | | | | just intonation: Encyclopedia II - Barbershop music - Historical origins As a result of scholarship by Lynn Abbott and Dr. Jim Henry it is now generally accepted that barbershop singing originated in African-American communities in the U.S. around the turn of the century, where barbershops were, and remain today, social gathering places. The four-part harmony of the form has its roots in the black church, where close harmony has a long tradition.
The first uses of the term were associated with African-Americans. Henry notes that "The Mills Brothers learned to harmonize in their father's barber shop in Piqu ...
See also:Barbershop music, Barbershop music - Ringing chords, Barbershop music - Historical origins, Barbershop music - Female Barbershop music and Beautyshop quartets, Barbershop music - Organization, Barbershop music - Notable artists, Barbershop music - Quartets, Barbershop music - Choruses, Barbershop music - Typical Barbershop Songs Read more here: » Barbershop music: Encyclopedia II - Barbershop music - Historical origins |
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| | | | | just intonation: Encyclopedia II - Barbershop music - Female Barbershop music and Beautyshop quartets Traditionally, the word "barbershop" has been used to encompass both men's and women's quartets singing in the barbershop style. Harmony, Inc. calls itself "International Organization of Women Barbershop Singers" while Sweet Adelines International call itself "a worldwide organization of women singers committed to advancing the musical art form of barbershop harmony."
Some women's quartets, particularly in U. S. schools, have used the term "beautyshop quartets" for women's quartets singing in the barbershop style.
Notable female groups inclu ...
See also:Barbershop music, Barbershop music - Ringing chords, Barbershop music - Historical origins, Barbershop music - Female Barbershop music and Beautyshop quartets, Barbershop music - Organization, Barbershop music - Notable artists, Barbershop music - Quartets, Barbershop music - Choruses, Barbershop music - Typical Barbershop Songs Read more here: » Barbershop music: Encyclopedia II - Barbershop music - Female Barbershop music and Beautyshop quartets |
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| | | | | | just intonation: Encyclopedia II - Interval music - Pitch class intervals Post-tonal or atonal theory, originally developed for equal tempered European classical music written using the twelve tone technique or serialism, integer notation is often used, most prominently in musical set theory. In this system intervals are named according to the number of half steps, from 0 to 11, the largest interval class being 6.
Interval music - Ordered and unordered pitch and pitch class intervals.
In atonal or musical set theory there are numerous types of intervals, the first being ordered ...
See also:Interval music, Interval music - Frequency ratios, Interval music - Interval number and quality, Interval music - Shorthand notation, Interval music - Enharmonic intervals, Interval music - Steps and skips, Interval music - Pitch class intervals, Interval music - Ordered and unordered pitch and pitch class intervals, Interval music - Generic and specific intervals, Interval music - Cents, Interval music - Comparison of different interval naming systems, Interval music - Consonant and dissonant intervals, Interval music - Inversion, Interval music - Interval roots, Interval music - Interval cycles, Interval music - Other intervals, Interval music - Sources Read more here: » Interval music: Encyclopedia II - Interval music - Pitch class intervals |
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| | | | | just intonation: Encyclopedia II - Interval music - Inversion An interval may be inverted, by raising the lower pitch an octave, or lowering the upper pitch an octave (though it is less usual to speak of inverting unisons or octaves). For example, the fourth between a lower C and a higher F may be inverted to make a fifth, with a lower F and a higher C. Here are the ways to identify interval inversions:
For diatonically-named intervals, here are two rules, applying to all simple (i.e., non-compound) intervals:
The number of any interval and the number of its i ...
See also:Interval music, Interval music - Frequency ratios, Interval music - Interval number and quality, Interval music - Shorthand notation, Interval music - Enharmonic intervals, Interval music - Steps and skips, Interval music - Pitch class intervals, Interval music - Ordered and unordered pitch and pitch class intervals, Interval music - Generic and specific intervals, Interval music - Cents, Interval music - Comparison of different interval naming systems, Interval music - Consonant and dissonant intervals, Interval music - Inversion, Interval music - Interval roots, Interval music - Interval cycles, Interval music - Other intervals, Interval music - Sources Read more here: » Interval music: Encyclopedia II - Interval music - Inversion |
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| | | | | just intonation: Encyclopedia II - Interval music - Consonant and dissonant intervals Consonance and dissonance are relative terms referring to the stability, or state of repose, of particular musical effects. Dissonant intervals would be those which cause tension and desire to be resolved to consonant intervals.
These terms are relative to the usage of different compositional styles.
In atonal music all intervals (or interval classes) are considered equally consonant melodically and harmonically.
In the middle ages, only the octave and perfect fifth were considered consonant harmonically.< ...
See also:Interval music, Interval music - Frequency ratios, Interval music - Interval number and quality, Interval music - Shorthand notation, Interval music - Enharmonic intervals, Interval music - Steps and skips, Interval music - Pitch class intervals, Interval music - Ordered and unordered pitch and pitch class intervals, Interval music - Generic and specific intervals, Interval music - Cents, Interval music - Comparison of different interval naming systems, Interval music - Consonant and dissonant intervals, Interval music - Inversion, Interval music - Interval roots, Interval music - Interval cycles, Interval music - Other intervals, Interval music - Sources Read more here: » Interval music: Encyclopedia II - Interval music - Consonant and dissonant intervals |
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| | | | | just intonation: Encyclopedia II - Interval music - Comparison of different interval naming systems It is possible to construct just intervals which are closer to the equal-tempered equivalents, but most of the ones listed above have been used historically in equivalent contexts. In particular the tritone (augmented fourth or diminished fifth), could have other ratios; 17:12 (603 cents) is fairly common. The 7:4 interval (the harmonic seventh) has been a contentious issue throughout the history of music theory; it is 31 cents flatter than an equal-tempered minor seventh. Some assert the 7:4 is one of the blue notes used in jazz.
The diatonic intervals, as ...
See also:Interval music, Interval music - Frequency ratios, Interval music - Interval number and quality, Interval music - Shorthand notation, Interval music - Enharmonic intervals, Interval music - Steps and skips, Interval music - Pitch class intervals, Interval music - Ordered and unordered pitch and pitch class intervals, Interval music - Generic and specific intervals, Interval music - Cents, Interval music - Comparison of different interval naming systems, Interval music - Consonant and dissonant intervals, Interval music - Inversion, Interval music - Interval roots, Interval music - Interval cycles, Interval music - Other intervals, Interval music - Sources Read more here: » Interval music: Encyclopedia II - Interval music - Comparison of different interval naming systems |
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| | | | | just intonation: Encyclopedia II - 53 equal temperament - Chords of 53 equal temperament Standard musical notation can be used to denote 53 equal temperament; however, since it is a Pythagorean system, with nearly pure fifths, major and minor triads cannot be spelled in the same manner as in a meantone tuning. Instead, the major triads are chords like C-Fb-G, where the major third is a diminished fourth; this is the defining characteristic of schismatic temperament. Likewise, the minor triads are chords like C-D#-G. In 53-et the dominant seventh chord would be spelled C-Fb-G-Bb, but the otonal tetrad is C-Fb-G-Cbb, and C-Fb-G-A# is still another seventh chord. The u ...
See also:53 equal temperament, 53 equal temperament - Theoretical properties, 53 equal temperament - Chords of 53 equal temperament, 53 equal temperament - Music in 53 equal temperament, 53 equal temperament - Musical examples Read more here: » 53 equal temperament: Encyclopedia II - 53 equal temperament - Chords of 53 equal temperament |
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| | | | | just intonation: Encyclopedia II - Musical acoustics - The equal tempered scale In the natural scale the ratio of the frequencies of two notes which differ for one tone is not always the same. Consequently a certain melody cannot be played starting from a random note of the scale. For instance, a melody starting with the two notes C and D (ratio 9/8) cannot be transposed one tone higher, since the ratio of the frequencies of E and of D is very near ((5/4)/(9/8) = 10/9), but not equal to 9/8.
To obviate this inconveniency, we today use the so-called Equal Temperament, which constitutes the compromise adopted in moder ...
See also:Musical acoustics, Musical acoustics - Methods and fields of study, Musical acoustics - Sound waves, Musical acoustics - Harmonics partials and overtones, Musical acoustics - Harmonics and non-linearities, Musical acoustics - Harmony, Musical acoustics - The natural scale, Musical acoustics - The equal tempered scale, Musical acoustics - Cent values of equal temperament Read more here: » Musical acoustics: Encyclopedia II - Musical acoustics - The equal tempered scale |
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