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The 17-Tone Puzzle — and the Neo-Medieval Key That Unlocks It
The 17-tone Puzzle — And the Neo-medieval Key That Unlocks It by George Secor A Grave Misunderstanding The 17 division of the octave has to be one of the most misunderstood alternative tuning systems available to the microtonal experimenter. In comparison with divisions such as 19, 22, and 31, it has two major advantages: not only are its fifths better in tune, but it is also more manageable, considering its very reasonable number of tones per octave. A third advantage becomes apparent immediately upon hearing diatonic melodies played in it, one note at a time: 17 is wonderful for melody, outshining both the twelve-tone equal temperament (12-ET) and the Pythagorean tuning in this respect. The most serious problem becomes apparent when we discover that diatonic harmony in this system sounds highly dissonant, considerably more so than is the case with either 12-ET or the Pythagorean tuning, on which we were hoping to improve. Without any further thought, most experimenters thus consign the 17-tone system to the discard pile, confident in the knowledge that there are, after all, much better alternatives available. My own thinking about 17 started in exactly this way. In 1976, having been a microtonal experimenter for thirteen years, I went on record, dismissing 17-ET in only a couple of sentences: The 17-tone equal temperament is of questionable harmonic utility. If you try it, I doubt you’ll stay with it for long.1 Since that time I have become aware of some things which have caused me to change my opinion completely. -
The Hell Harp of Hieronymus Bosch. the Building of an Experimental Musical Instrument, and a Critical Account of an Experience of a Community of Musicians
1 (114) Independent Project (Degree Project), 30 higher education credits Master of Fine Arts in Music, with specialization in Improvisation Performance Academy of Music and Drama, University of Gothenburg Spring 2019 Author: Johannes Bergmark Title: The Hell Harp of Hieronymus Bosch. The building of an experimental musical instrument, and a critical account of an experience of a community of musicians. Supervisors: Professor Anders Jormin, Professor Per Anders Nilsson Examiner: Senior Lecturer Joel Eriksson ABSTRACT Taking a detail from Hieronymus Bosch’s Garden Of Earthly Delights as a point of departure, an instrument is built for a musical performance act deeply involving the body of the musician. The process from idea to performance is recorded and described as a compositional and improvisational process. Experimental musical instrument (EMI) building is discussed from its mythological and sociological significance, and from autoethnographical case studies of processes of invention. The writer’s experience of 30 years in the free improvisation and new music community, and some basic concepts: EMIs, EMI maker, musician, composition, improvisation, music and instrument, are analyzed and criticized, in the community as well as in the writer’s own work. The writings of Christopher Small and surrealist ideas are main inspirations for the methods applied. Keywords: Experimental musical instruments, improvised music, Hieronymus Bosch, musical performance art, music sociology, surrealism Front cover: Hieronymus Bosch, The Garden of Earthly -
Andrián Pertout
Andrián Pertout Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition Volume 1 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Produced on acid-free paper Faculty of Music The University of Melbourne March, 2007 Abstract Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition encompasses the work undertaken by Lou Harrison (widely regarded as one of America’s most influential and original composers) with regards to just intonation, and tuning and scale systems from around the globe – also taking into account the influential work of Alain Daniélou (Introduction to the Study of Musical Scales), Harry Partch (Genesis of a Music), and Ben Johnston (Scalar Order as a Compositional Resource). The essence of the project being to reveal the compositional applications of a selection of Persian, Indonesian, and Japanese musical scales utilized in three very distinct systems: theory versus performance practice and the ‘Scale of Fifths’, or cyclic division of the octave; the equally-tempered division of the octave; and the ‘Scale of Proportions’, or harmonic division of the octave championed by Harrison, among others – outlining their theoretical and aesthetic rationale, as well as their historical foundations. The project begins with the creation of three new microtonal works tailored to address some of the compositional issues of each system, and ending with an articulated exposition; obtained via the investigation of written sources, disclosure -
<I>Manifestations</I>: a Fixed Media Microtonal Octet
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2017 Manifestations: A fixed media microtonal octet Sky Dering Van Duuren University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Composition Commons Recommended Citation Van Duuren, Sky Dering, "Manifestations: A fixed media microtonal octet. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4908 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Sky Dering Van Duuren entitled "Manifestations: A fixed media microtonal octet." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Andrew L. Sigler, Major Professor We have read this thesis and recommend its acceptance: Barbara Murphy, Jorge Variego Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Manifestations A fixed media microtonal octet A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Skylar Dering van Duuren August 2017 Copyright © 2017 by Skylar van Duuren. -
Divisions of the Tetrachord Are Potentially Infinite in Number
EDITOR'S INTRODUCTION ''''HEN I WAS A young student in California, Lou Harrison suggested that I send one of my first pieces, Piano Study #5 (forJPR) to a Dr. Chalmers, who might publish it in his journal Xenbarmonikon. Flattered and fascinated, I did, and John did, and thus began what is now my twenty year friendship with this polyglot fungus researcher tuning guru science fiction devotee and general everything expert. Lou first showed me the box of papers, already called Divisions ofthe Tetracbord, in 1975. I liked the idea of this grand, obsessive project, and felt that it needed to be availablein a way that was, likeJohn himself, out of the ordinary. When Jody Diamond, Alexis Alrich, and I founded Frog Peak Music (A Composers' Collective) in the early 80S, Divisions (along with Tenney's then unpublished Meta + Hodos) was in my mind as one of the publishing collective's main reasons for existing, and for calling itself a publisher of"speculative theory." The publication of this book has been a long and arduous process. Re vised manuscripts traveled with me from California to Java and Sumatra (John requested we bring him a sample of the local fungi), and finally to our new home in New Hampshire. The process of writing, editing, and pub lishing it has taken nearly fifteen years, and spanned various writing tech nologies. (When John first started using a word processor, and for the first time his many correspondents could actually read his long complicated letters, my wife and I were a bit sad-we had enjoyed reading his com pletely illegible writing aloud as a kind of sound poetry). -
I Temperamenti L'incontro Fra Suoni Ed Esigenze Compositive
I Temperamenti L'incontro fra suoni ed esigenze compositive PDF generato attraverso il toolkit opensource ''mwlib''. Per maggiori informazioni, vedi [[http://code.pediapress.com/ http://code.pediapress.com/]]. PDF generated at: Thu, 01 Mar 2012 14:54:56 UTC Indice Voci Premessa 1 Prerequisiti 3 Intervallo 3 Semitono 6 Tono 7 Cent 8 Scala musicale 9 Scala diatonica 11 Scala cromatica 14 Circolo delle quinte 15 Dalla fisica alla musica 18 Rapporto tra musica e matematica 18 Battimenti 25 Consonanza e dissonanza 28 Temperamenti 33 Temperamento 33 Armonici naturali 39 Armonici artificiali 41 Comma 42 Scala pitagorica 43 Temperamento equabile 46 Temperamento mesotonico 50 Temperamento naturale 52 Esempi di musica di diversi temperamenti 53 Musica nell'antica Grecia 53 Il clavicembalo ben temperato 59 Musica microtonale 63 Appendice 72 Onda sonora 72 Altezza dei suoni 74 Accordatura 79 Intonazione 81 Principio di indeterminazione tonale 83 Andreas Werckmeister 84 Note Fonti e autori delle voci 86 Fonti, licenze e autori delle immagini 87 Licenze della voce Licenza 88 Premessa 1 Premessa Cos'è questo libro Questo è un libro di Wikipedia. È una raccolta di voci tratte dall'edizione italiana dell'enciclopedia online Wikipedia [1]. Le voci di Wikipedia sono scritte collettivamente e i lettori sono anche gli autori. Nessuno è stato pagato per scrivere questo libro. Come usare questo libro Quest'opera può essere liberamente utilizzata, riprodotta, modificata, distribuita per qualsiasi scopo (anche commerciale), a patto di attribuire correttamente la provenienza dei contenuti e citare gli autori, nel rispetto della licenza Creative Commons Attribuzione-Condividi allo stesso modo (CC-BY-SA) 3.0 [2] per quanto riguarda i testi. -
Harmonics: Composing in Extended Just Intonation
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2011 Tuning the horn: a composer-performer's perspective on using extended just intonation Michael H. Dixon University of Wollongong Recommended Citation Dixon, Michael H., Tuning the horn: a composer-performer's perspective on using extended just intonation, Doctor of Creative Arts thesis, Faculty of Creative Arts, University of Wollongong, 2011. http://ro.uow.edu.au/theses/3419 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. TUNING THE HORN A COMPOSER-PERFORMER’S PERSPECTIVE ON USING EXTENDED JUST INTONATION A thesis submitted in partial fulfilment of the requirements for the award of the degree DOCTOR OF CREATIVE ARTS from UNIVERSITY OF WOLLONGONG by MICHAEL H DIXON, MMus, MPhil FACULTY OF CREATIVE ARTS, SCHOOL OF MUSIC, 2011 Certification I, Michael Hugh Dixon, declare that this thesis, submitted in partial fulfillment of the requirements for the award of Doctor of Creative Arts, in the Faculty of Creative Arts, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. 1 March 2011 i Table of Contents List of Tables iv List of Examples v List of Illustrations vii Abstract viii Acknowledgments ix Prologue xi Chapter 1 1 The extended xenharmonic family of labrosones -
IVAN WYSCHNEGRADSKY ET LA MUSIQUE MICROTONALE Franck Jedrzejewski
IVAN WYSCHNEGRADSKY ET LA MUSIQUE MICROTONALE Franck Jedrzejewski To cite this version: Franck Jedrzejewski. IVAN WYSCHNEGRADSKY ET LA MUSIQUE MICROTONALE. Musique, musicologie et arts de la scène. Université de Paris 1 Panthéon-Sorbonne, 2000. Français. tel- 02902282 HAL Id: tel-02902282 https://tel.archives-ouvertes.fr/tel-02902282 Submitted on 18 Jul 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITE PARIS I - PANTHEON-SORBONNE U.F.R. ARTS PLASTIQUES THESE pour obtenir le grade de Docteur de l’Université de PARIS I Discipline : Arts et sciences de l’art Présentée et soutenue publiquement par Franck JEDRZEJEWSKI le 27 juin 2000 IVAN WYSCHNEGRADSKY ET LA MUSIQUE MICROTONALE Directeur de thèse : M. Jean-Yves BOSSEUR Jury : M. Jean-Yves BOSSEUR Président M. Pierre-Albert CASTANET Rapporteur M. Jean-Paul OLIVE Rapporteur Remerciements Je tiens tout d’abord à remercier M. Jean-Yves Bosseur qui a accepté de diriger ce travail, ainsi que M. Pierre-Albert Castanet et M. Jean-Paul Olive, qui ont eu la gentillesse d’être membre du jury. J’exprime toute ma gratitude aux Directeurs et aux Personnels des Centres Internationaux de Musique Contemporaine qui tout au long de mes recherches sur les micro-intervalles, ont bien voulu mettre à ma disposition une importante documentation, et en particulier à M. -
Sound to Scale to Sound, a Setup for Microtonal
future work, we plan to add functionality for uploading . Top 10 presets or sets of composition parameters Table 2 music components and recommending generated songs. during 54 days of operation. SOUND TO SCALE TO SOUND, A SETUP FOR MICROTONAL Style preset (top 10) Frequency 7. REFERENCES EXPLORATION AND COMPOSITION “Singing with guitar” style (default) 3622 [1] L. Hiller and L. Isaacson, “Experimental Music,” “Rock 1” style 2484 McGraw-Hill, 1959. Olmo Cornelis, Joren Six “Old Japanese Meiji-era songs” style 1658 [2] S. Kaske, “A Conversation with Clarence Barlow,” “Nursery songs 1” style 1417 Royal Academy of Fine Arts & Royal Conservatory Computer Music Journal, vol.9, no.1, 1985. University College Ghent “Ballade” style 1285 [3] M. Mathews and L. Rosler, “Graphical language for “Japanese typical school song” style 1145 the scores of computer-generated sounds,” Perspec- Hoogpoort 64, 9000 Ghent - Belgium “Pops” style 951 tive of New Music, vol.6, no.2, pp.92–118, 1968. [email protected] “Rock 2” style 781 [4] M. Balaban, et al., “Abstraction as a Means for End- “Yesterday (from The Beatles)” style 583 User Computing in Creative Applications,” IEEE “Nursery songs 2” style 576 Trans on Systems, Man, and Cybernetics, Part A, ABSTRACT formation Retrieval community, that aimed at automated vol.32, no.6, pp.640–653, 2002. computational analysis of any musical parameter. In this [5] R. Baker, et al., “MUSICOMP: MUsic Simulator- This paper elaborates on a setup for microtonal explo- context, we have developed Tarsos1. It was especially de- Interpreter for COMpositional Procedures for ration, experimentation and composition. -
Are You in Tune?
Are You in Tune? A Phenomenological Enquiry into Pythagorean Tuning in the Creation of New Music Miranda Jensen ORCID: 0000-0002-0920-7695 This thesis is being submitted for the total fulfilment of the Doctor of Philosophy. August 2017 I Victorian College of the Arts University of Melbourne Abstract This research explores the experiential and practical performance aspects arising through using Pythagorean Tuning. The focus is primarily on the application of the tuning system in the creation, performance and apprehension of new music. In Western cultures, equal temperament is the dominant tuning standard to the extent that musicians and audiences may not be aware of other tuning possibilities. However, using non- tempered tuning standards arguably produces a different physical experience in the listener and a different quality of physicality in sound production on a musical instrument. The questions arise: How do people experience non-tempered tuning? How do musicians respond to the demands of playing in tuning systems that are not familiar and may work counter intuitively to the architecture of the instrument they play? Does the experience of the musician using different tuning systems enhance or detract from other performance attributes? This research is supported by practice led enquiry where the primary researcher collaborated with a number of producers to create an original album of contemporary music. A second album was produced which explored a range of musical styles through re-imaging Christmas carols. Together the two albums form the creative submission which provides a diversity of musical styles and artistic approaches using the Pythagorean tuning system. II Declaration I Miranda Jensen declare that this thesis comprises the original work of the author towards the award of Doctor of Philosophy except where indicated in the Preface. -
Towards a Spectral Microtonal Composition
Rami Chahin Towards a Spectral Microtonal Composition A Bridge Between Arabic and Western Music Veröffentlicht unter der Creative-Commons-Lizenz CC BY-NC-ND 4.0 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. 978-3-95983-124-6 (Paperback) 978-3-95983-125-3 (Hardcover) © 2017 Schott Music GmbH & Co. KG, Mainz www.schott-campus.com Alle Rechte vorbehalten Nachdruck in jeder Form sowie die Wiedergabe durch Fernsehen, Rundfunk, Film, Bild- und Tonträger oder Benutzung für Vorträge, auch auszugsweise, nur mit Genehmigung des Verlags. Veröffentlicht unter der Creative-Commons-Lizenz CC BY-NC-ND 4.0 Towards a Spectral Microtonal Composition: A Bridge Between Arabic and Western Music by Rami Chahin III Preface This work was originally written as a dissertation at Carl von Ossietzky Uni- versity, where it was supervised by Prof. Violeta Dinescu and Prof. Dr. Joa- chim Dorfmüller. Their advice was very important in helping me to promote my work to achieve success in musicology, composition and theory. Although the theoretical part was written as a harmonic solution for maqam music, it can be used as a universal function to develop theories in harmony in another traditional microtonal music. This is one of the first idea dissertations in Germany based on the three musi- cal fields of musicology, composition, and music theory. It needed much work, and here I would like to thank Prof. Dr. Wolfgang Stroh, Prof. Dr. Nicolae Manolache and Prof. Dr. Susanne Binas-Preisendörfer who were always ready to cooperate and react to my musical and scientific issues. -
Toward the Expansion of Our Concepts of Intonation
Review: Toward the Expansion of Our Concepts of Intonation Author(s): Joel Mandelbaum Reviewed work(s): Pitch Notation and Equal Temperament: A Formal Study by Eric Regener New Music with 31 Notes by Adriaan D. Fokker ; Leigh Gerdine Xenharmonikon: An Informal Journal of Experimental Music, Volume I, No. 1, 1973The Scalatron by Motorola Inc. The Archifoon by Hendrik van der Horst Source: Perspectives of New Music, Vol. 13, No. 1 (Autumn - Winter, 1974), pp. 216-226 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/832376 Accessed: 27/03/2010 22:22 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=pnm. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.