DOCSLIB.ORG

Cesta K Propojení Sonických a Akordických Prvků V Hudbě

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cesta K Propojení Sonických a Akordických Prvků V Hudbě JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ HUDEBNÍ FAKULTA Katedra kompozice, dirigování a operní režie Studijní obor: Kompozice Název práce: Elektronická kompozice - cesta k propojení sonických a akordických prvků v hudbě DISERTAČNÍ PRÁCE Autor práce: MgA. Petr Pařízek Vedoucí práce: prof. Ing. MgA. Ivo Medek, Ph.D. Oponenti práce: prof. Vladimír Tichý, CSc., RNDr. Lubor Přikryl Brno 2014 ELEKTRONICKÁ KOMPOZICE - CESTA K PROPOJENÍ SONICKÝCH A AKORDICKÝCH PRVKŮ V HUDBĚ Anotace Disertační práce "Elektronická kompozice - propojení sonických a akordických prvků v hudbě" pojednává o otázce souvislostí mezi obory hudební kompozice a hudební akustiky. Je zde upozorněno na stěžejní akustické zákonitosti, které platí u všech zvuků, ať už jsou to zvuky vztažené k hudbě nebo od ní zcela oddělované. Dále jsou probrány některé způsoby, jakými lze elektronicky upravovat zvukovou nahrávku. Je rovněž zkoumán jev tzv. "harmonických tónů", primárně s ohledem na akustické úkazy vzniklé souzvukem několika harmonických tónů současně. Téma harmonických tónů je pak dále rozvinuto do oblasti historie intonace v evropské hudbě a konečně jsou zkoumány zcela nové možnosti spojování akordů, které jsou pro tuto práci zcela originální a dosud nebyly nikde systematicky zkoumány a klasifikovány. Annotation The dissertation thesis "Electronic composition - a way of linking sonic and chordal elements in music" deals with the topic of connections between the musical composition and musical acoustics. First, some primary facts about acoustics are mentioned which are true for every possible sound, no matter if we think of the sound as pertaining to music or as completely unrelated to it. Next, some ways are discussed in which it is possible to modify a recorded portion of sound with the aid of electronic tools. Also, the phenomenon of so-called "harmonics pitches" is examined, especially the effect observed when several of them sound at the same time. The topic of harmonics is then developed further into the area of history of intonation in European music. Finally, we discuss completely new possibilities of constructing chord progressions, which is a field clearly original for this thesis that has never been systematically examined and classified before. Klíčová slova: Elektronická hudba, kompozice, hudební akustika, periodické zvuky, zvukové efekty, mikrointervaly, historická intonace, alternativní ladění, nové harmonické systémy, spojování akordů. Keywords: Electronic music, composition, musical acoustics, periodic sounds, sound effects, microtones, historical intonation, alternate tunings, new harmonic systems, chord progressions. Petr Pařízek / 2014 2 | S t r á n k a ELEKTRONICKÁ KOMPOZICE - CESTA K PROPOJENÍ SONICKÝCH A AKORDICKÝCH PRVKŮ V HUDBĚ Poznámka: Zkrácená verze tohoto textu byla ještě před jeho dokončením použita v článku "Hudební souzvuk z pohledu zvukového spektra", který byl psán pro účely Výzkumného centra JAMU a publikován v časopise Opus Musicum (duben 2011). Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. Současně dávám svolení k tomu, aby tato disertační práce byla umístěna v Knihovně JAMU a používána ke studijním účelům. V Brně, dne 6. 6. 2014 Petr Pařízek …………………………………………………………… Poděkování Na tomto místě bych rád poděkoval prof. Ing. MgA. Ivo Medkovi PhD., za vedení a asistenci při tvorbě této práce. Děkuji MgA. Danieli Forró, který mne výrazně zasvětil do problematiky kompozice, harmonie, elektronické hudby a mikrointervalů. Děkuji těm, kteří mne vzdělávali prostřednictvím internetových diskusních skupin nebo v soukromé emailové korespondenci a kteří mnohdy sami stáli u zrodu nově objevených tónových systémů. Patří mezi ně Manuel Op De Coul, Joe Monzo, Graham Breed, Paul Erlich, Gene Ward Smith, George Secor, Herman Miller, Kraig Grady a Mike Battaglia. Petr Pařízek / 2014 3 | S t r á n k a ELEKTRONICKÁ KOMPOZICE - CESTA K PROPOJENÍ SONICKÝCH A AKORDICKÝCH PRVKŮ V HUDBĚ OBSAH 1 Úvod .................................................................................................................... 7 2 Konvence užité v textu ...................................................................................... 10 3 Digitální zvuková nahrávka ............................................................................... 11 3.1 Zvuk jako sekvence čísel............................................................................ 11 3.2 Úprava zvuku ............................................................................................. 13 4 Periodicita ve zvuku .......................................................................................... 16 4.1 Hlavní parametry periody ......................................................................... 16 4.2 Příklad periodického průběhu ................................................................... 17 4.3 Amplitudová modulace ............................................................................. 21 5 Dvojzvuky .......................................................................................................... 24 5.1 Primární vlastnosti dvojzvuku ................................................................... 24 5.2 Sekundární vlastnosti dvojzvuku ............................................................... 26 5.3 Vnímání odladěných (nečistých) dvojzvuků .............................................. 28 6 Lineární a exponenciální vztahy frekvencí ........................................................ 30 6.1 Vnímání exponenciálních vztahů sluchem ................................................ 30 6.2 Využití a měření exponenciálních frekvenčních vztahů ............................ 31 7 Alikvotní a harmonické tóny, barva zvuku ........................................................ 32 7.1 Alikvotní tóny ............................................................................................ 32 7.2 Harmonické tóny a frekvence ................................................................... 32 8 Periodicita souzvuků ......................................................................................... 34 8.1 Syntéza zvuku ............................................................................................ 34 8.2 Akustická periodicita, periodické souzvuky .............................................. 34 8.3 Částečná periodicita, lineární tónové řady ............................................... 36 8.4 Propojení hudebního a zvukového vnímání ............................................. 37 9 Lineární posun frekvencí složeného spektra..................................................... 39 9.1 Obousměrná změna frekvence ................................................................. 39 9.2 Jednosměrná změna frekvence ................................................................ 42 10 Pitch Shifter - exponenciální změna frekvence ................................................. 44 11 Konvoluce - zvuk v roli odrazu .......................................................................... 48 Petr Pařízek / 2014 4 | S t r á n k a ELEKTRONICKÁ KOMPOZICE - CESTA K PROPOJENÍ SONICKÝCH A AKORDICKÝCH PRVKŮ V HUDBĚ 11.1 Dozvuk a filtrování .................................................................................... 48 11.2 Frekvenčně závislé zpoždění ..................................................................... 50 11.3 Hilbertova transformace - cílená změna fáze ........................................... 51 12 Řada harmonických tónů .................................................................................. 53 13 Limit lichých čísel, limit prvočísel ...................................................................... 54 14 Stručně o intonaci v evropské hudbě ............................................................... 55 14.1 Pythagorejské ladění ................................................................................. 55 14.2 Didymické ladění ....................................................................................... 56 14.3 Středotónové ladění .................................................................................. 57 14.4 Kvintové kruhy .......................................................................................... 58 14.5 Intonační ornamentika v romantismu ...................................................... 58 14.6 Sjednocení intonace .................................................................................. 58 14.7 7-limitové intervaly ................................................................................... 60 15 Didymické ladění v aplikaci na běžnou kvintterciovou harmonii ..................... 62 15.1 Kvintová příbuznost not a intervalů .......................................................... 62 15.2 Dolaďování souzvuků ................................................................................ 64 15.3 Lineární analýza melodických a harmonických postupů .......................... 68 15.4 Konsonance a disonance ........................................................................... 76 15.4.1 Akustická disonance .......................................................................... 76 15.4.2 Disonance v hudbě ............................................................................ 78 16 Dvojrozměrná ladění a nekvintové harmonické systémy ................................. 82 17 dHledání akordických postupů v neobvyklých laděních ................................... 83 17.1 Přehled .....................................................................................................
Load more

Recommended publications
  • Smufl Standard Music Font Layout
    SMuFL Standard Music Font Layout Version 0.7 (2013-11-27) Copyright © 2013 Steinberg Media Technologies GmbH Acknowledgements This document reproduces glyphs from the Bravura font, copyright © Steinberg Media Technologies GmbH. Bravura is released under the SIL Open Font License and can be downloaded from http://www.smufl.org/fonts This document also reproduces some glyphs from the Unicode 6.2 code chart for the Musical Symbols range (http://www.unicode.org/charts/PDF/U1D100.pdf). These glyphs are the copyright of their respective copyright holders, listed on the Unicode Consortium web site here: http://www.unicode.org/charts/fonts.html 2 Version history Version 0.1 (2013-01-31) § Initial version. Version 0.2 (2013-02-08) § Added Tick barline. § Changed names of time signature, tuplet and figured bass digit glyphs to ensure that they are unique. § Add upside-down and reversed G, F and C clefs for canzicrans and inverted canons. § Added Time signature + and Time signature fraction slash glyphs. § Added Black diamond notehead, White diamond notehead, Half-filled diamond notehead, Black circled notehead, White circled notehead glyphs. § Added 256th and 512th note glyphs. § All symbols shown on combining stems now also exist as separate symbols. § Added reversed sharp, natural, double flat and inverted flat and double flat glyphs for canzicrans and inverted canons. § Added trill wiggle segment, glissando wiggle segment and arpeggiato wiggle segment glyphs. § Added string Half-harmonic, Overpressure down bow and Overpressure up bow glyphs. § Added Breath mark glyph. § Added angled beater pictograms for xylophone, timpani and yarn beaters. § Added alternative glyph for Half-open, per Weinberg.
    [Show full text]
  • Standard Music Font Layout
    SMuFL Standard Music Font Layout Version 0.5 (2013-07-12) Copyright © 2013 Steinberg Media Technologies GmbH Acknowledgements This document reproduces glyphs from the Bravura font, copyright © Steinberg Media Technologies GmbH. Bravura is released under the SIL Open Font License and can be downloaded from http://www.smufl.org/fonts This document also reproduces glyphs from the Sagittal font, copyright © George Secor and David Keenan. Sagittal is released under the SIL Open Font License and can be downloaded from http://sagittal.org This document also currently reproduces some glyphs from the Unicode 6.2 code chart for the Musical Symbols range (http://www.unicode.org/charts/PDF/U1D100.pdf). These glyphs are the copyright of their respective copyright holders, listed on the Unicode Consortium web site here: http://www.unicode.org/charts/fonts.html 2 Version history Version 0.1 (2013-01-31) § Initial version. Version 0.2 (2013-02-08) § Added Tick barline (U+E036). § Changed names of time signature, tuplet and figured bass digit glyphs to ensure that they are unique. § Add upside-down and reversed G, F and C clefs for canzicrans and inverted canons (U+E074–U+E078). § Added Time signature + (U+E08C) and Time signature fraction slash (U+E08D) glyphs. § Added Black diamond notehead (U+E0BC), White diamond notehead (U+E0BD), Half-filled diamond notehead (U+E0BE), Black circled notehead (U+E0BF), White circled notehead (U+E0C0) glyphs. § Added 256th and 512th note glyphs (U+E110–U+E113). § All symbols shown on combining stems now also exist as separate symbols. § Added reversed sharp, natural, double flat and inverted flat and double flat glyphs (U+E172–U+E176) for canzicrans and inverted canons.
    [Show full text]
  • Tuning Continua and Keyboard Layouts
    October 4, 2007 8:34 Journal of Mathematics and Music TuningContinua-RevisedVersion Journal of Mathematics and Music Vol. 00, No. 00, March 2007, 1–15 Tuning Continua and Keyboard Layouts ANDREW MILNE∗ , WILLIAM SETHARES , and JAMES PLAMONDON † ‡ § Department of Music, P.O. Box 35, FIN-40014, University of Jyvaskyl¨ a,¨ Finland. Email: [email protected] † 1415 Engineering Drive, Dept Electrical and Computer Engineering, University of Wisconsin, Madison, WI 53706 USA. ‡ Phone: 608-262-5669. Email: [email protected] CEO, Thumtronics Inc., 6911 Thistle Hill Way, Austin, TX 78754 USA. Phone: 512-363-7094. Email: § [email protected] (received April 2007) Previous work has demonstrated the existence of keyboard layouts capable of maintaining consistent fingerings across a parameterised family of tunings. This paper describes the general principles underlying layouts that are invariant in both transposition and tuning. Straightforward computational methods for determining appropriate bases for a regular temperament are given in terms of a row-reduced matrix for the temperament-mapping. A concrete description of the range over which consistent fingering can be maintained is described by the valid tuning range. Measures of the resulting keyboard layouts allowdirect comparison of the ease with which various chordal and scalic patterns can be fingered as a function of the keyboard geometry. A number of concrete examples illustrate the generality of the methods and their applicability to a wide variety of commas and temperaments, tuning continua, and keyboard layouts. Keywords: Temperament; Comma; Layout; Button-Lattice; Swathe; Isotone 2000 Mathematics Subject Classification: 15A03; 15A04 1 Introduction Some alternative keyboard designs have the property that any given interval is fingered the same in all keys.
    [Show full text]
  • Sagittal a Microtonal Notation System
    Sagittal A Microtonal Notation System by George D. Secor and David C. Keenan Introduction George Secor began development of the Sagittal (pronounced “SAJ-i-tl”) notation system in August 2001. In January 2002 he presented what he had developed to the Yahoo group tuning and offered to consider suggestions for improvements. At that stage the system could notate the equal temperaments with 17, 19, 22, 29, 31, 41, and 72 divisions per octave. Little did he know that he had provided a unifying symbolic principle which would ultimately be developed into a system capable of notating almost any conceivable microtonal tuning. In the early stages of the discussion, one idea that surfaced repeatedly was that a set of symbols indicating prime-number commatic alterations to tones in a Pythagorean series might be used to notate both rational intervals (e.g. just intonation) and equal divisions of the octave. Similar ideas had previously been proposed by Hermann Helmholtz, Alexander Ellis, Carl Eitz, Paul Rapoport, Daniel Wolf, Joe Monzo, and others1, but these had never been implemented in a performance notation to such an extent as was being discussed. As a first step, Gene Ward Smith suggested that it would be desirable that there be no more than one comma symbol per prime number, and a selection of 19-limit commas was tentatively identified to define the semantics of the notation. David Keenan enthusiastically observed that these commas came in an assortment of sizes that made the objective theoretically feasible, but he also realized that devising a set of distinct and recognizable symbols suitable for a performance notation was not going to be a simple matter.
    [Show full text]
  • La Gamme De Pythagore Est Fondée Sur Deux Intervalles Géné- Rateurs : La Quinte Et L’Octave Et Ils Sont Incommensurables
    Jean-Louis MIGEOT Membre de l’Académie Classe Technologie et Société DES CHIFFRES ET DES NOTES QUAND LA SCIENCE PARLE À LA MUSIQUE ACADÉMIE ROYe ALE des Sciences, des Lettres et des Beaux-Arts DE BELGIQUE DES CHIFFRES ET DES NOTES COLLECTION TRANSVERSALES 1. Jean-Louis MIGEOT, Des chiffres et des notes. Quand la science parle à la musique, 2015. 2. Hugues BERSINI, Quand l’informatique réinvente la sociologie ! (à paraître) JEAN-LOUIS MIGEOT Membre de l’Académie, Classe Technologie et Société DES CHIFFRES ET DES NOTES QUAND LA SCIENCE PARLE À LA MUSIQUE Académie royale de Belgique Crédits Rue Ducale, 1 © Jean-Louis Migeot, pour le texte et les figures 1000 Bruxelles, Belgique (sauf mentions contraires) [email protected] www.academie-editions.be Suivi et couverture : Loredana Buscemi et Grégory Van Aelbrouck, Transversales Académie royale de Belgique Classe Technologie et Société Volume 1 Impression : nº 2108 IMP Printing s.a., 1083 Ganshoren © 2015, Académie royale de Belgique ISBN 978-2-8031-0508-3 Dépôt légal : 2015/0092/25 Ce livre est dédié… À ceux qui savent tout ce que je leur dois. À ceux qui ont tort de douter de ce qu’ils m’ont apporté. À ceux qui ne savent pas encore que je ne suis rien sans eux. À ceux à qui il est trop tard pour exprimer ma reconnaissance. Préface « Sans la musique, la vie serait une erreur », dit Nietzsche… et qui lui donnerait tort ? Des berceuses psalmodiées par nos parents dès notre naissance aux orgues majestueuses qui scelleront peut-être notre passage sur terre, des musiques endiablées sur lesquelles nous dansons aux accords subtils des plus belles sonates écoutées dans le recueillement d’une salle de concert, des bribes de mélodie entendues à la radio au chant de notre voisine sous la douche, de l’intensité d’un récital à l’inattentive perception du décor sonore d’un restaurant, chaque instant de notre vie, du plus solennel au plus anodin, est baigné de musique.
    [Show full text]
  • FD2020 Full-Proceedngs-160920-V3
    Proceedings of the 36th Annual Meeting of the International Society for Psychophysics Fechner Day 2020 {Online} October 19-22, 2020 1 Published by the International Society for Psychophysics, 2020. Cover Image: Markus Spiske Cover design: Jordan Richard Schoenherr Title: Proceedings of the 36th Annual Meeting of the International Society for Psychophysics Fechner Day 2020 Edited by Jordan Richard Schoenherr, Timothy Hubbard, William Stine, and Craig Leth-Steensen for the International Society for Psychophysics. All papers are considered nonarchival, representing working papers of the authors. The International Society for Psychophysics does not hold any rights to the works contained herein which remain the intellectual property of the authors. Please contact the authors listed in the respective extended abstracts or papers for further details. Table of Contents Table of Contents ....................................................................................................... 3 Preface ......................................................................................................................... 4 Schedule ....................................................................................................................... 6 Abstracts and Papers ................................................................................................. 9 3 Preface Welcome to the 36th Annual Conference of the International Society for Psychophysics, Fechner Day 2020! As a member of the Executive Committee, I am pleased to welcome
    [Show full text]
  • Music Theory Contents
    Music theory Contents 1 Music theory 1 1.1 History of music theory ........................................ 1 1.2 Fundamentals of music ........................................ 3 1.2.1 Pitch ............................................. 3 1.2.2 Scales and modes ....................................... 4 1.2.3 Consonance and dissonance .................................. 4 1.2.4 Rhythm ............................................ 5 1.2.5 Chord ............................................. 5 1.2.6 Melody ............................................ 5 1.2.7 Harmony ........................................... 6 1.2.8 Texture ............................................ 6 1.2.9 Timbre ............................................ 6 1.2.10 Expression .......................................... 7 1.2.11 Form or structure ....................................... 7 1.2.12 Performance and style ..................................... 8 1.2.13 Music perception and cognition ................................ 8 1.2.14 Serial composition and set theory ............................... 8 1.2.15 Musical semiotics ....................................... 8 1.3 Music subjects ............................................. 8 1.3.1 Notation ............................................ 8 1.3.2 Mathematics ......................................... 8 1.3.3 Analysis ............................................ 9 1.3.4 Ear training .......................................... 9 1.4 See also ................................................ 9 1.5 Notes ................................................
    [Show full text]
  • A Research Into the Accords of the Sho by Tadao Osanai
    A Research into the Accords of the Sho by Tadao Osanai Synopsis: The sho笙serves as the standard of pitch ih the gagaku雅 楽*Japa- Table 1. nese classical court-music, and produces 11 so- rts of peculiar accord called aitake fit. The writer desired and endeavoured to know in detail of the tuning of the sh6, and, if pas- sible, to give a reasonable explanation to the aita- ke. The result is satisfactory, and a very sim- ple method is proposed to express numerical- ly the degree of concordance of not only the- se 11 aitakes but also of almost any accord. 1. Preliminary Consideration. •˜ The Japanese sh6 V has 17 independent pipes, 2 of which are silent, ", and can give 15 notes as shown in Table 1, pipe and note cor- responding one to one . It is often said" that hese 15 notes are riot tuned in the 12 equallyt tempered scale, but are in the Pythagorean series. If we put aside the difference of octave, the * The eutline of the gagaku is given in European notations: "Cellection of Japanese Musics, 日 本 音 楽 集"edited by Mr . Hisao Tanabe田 辺 尚 雄as the Vol.18 of the "Gesammelte Werke der Welt Musik". Shllnju-sha春 秋 社Publishing Co., 1930. Score of Gagaku, Vol." 1"transcribed by Mr. Sukehiro shiba芝 祐 泰, published from Ryugin-sha龍 吟 社; the succeeding volumes have been published or in preparation. 1) L. Traynor and S. Kishibe; "The Four Unknown Pipes of the She", Jour. Soc. Res. Asiatic Music, No. 9, 1951, pp.
    [Show full text]
  • Semantic Manual
    SEMANTIC DANIELOU-53 version 1.1 (4th of october 2014) INTRODUCTION THE SEMANTIC SYSTEM DESCRIPTION OF THE INTERFACE COMPATIBLE DEVICES MINIMAL CONFIGURATION INSTALLATION - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - FIRST STEPS - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Supporting documents : INTERVALS TABLE OF THE SEMANTIC SCALE TUNINGS MENU INSTRUMENTS MENU English version, Jacques Dudon 2017 Introduction In 1994, one year before leaving this world, the eminent indianist and writer, Alain Daniélou, shared his desire with Michel Geiss and Christian Braut to produce a digital instrument enabling the experience of his just intonation system inspired from the indian shrutis, the "Semantic". As a result of that team’s efforts, the first Semantic instrument was conceived a few years later. In 2007, it was given to Jacques Dudon, a just intonation composer, who used it in a series of compositions entitled "Semantic Works". That Autumn, to commemorate Alain Danielou's birth centenary, it was performed in concert by the Thoronet's Microtonal Music Ensemble in the Abbey of Thoronet, as well as in Venise, Rome, and Paris. The nitiali 36 notes per octave instrument was then reconceived with the same keyboard by Michel Geiss, while Jacques Dudon and Christian Braut designed the bases of a new software version compatible with any personal computer, allowing each user to discover and experiment with the 53 note tonal system proposed by Alain Daniélou. Thanks to the constant support of the Alain Daniélou Cultural Center and the Foundation for Indo-european new dialogues (FIND), the "Semantic Danielou-53" was born. Its aim is to make accessible the just intonation experience for a broader number of people through the means of many pre-programmed modes springing from the global scale of the Semantic : Indian ragas, scales from various musical cultures, demonstration of commas, schismatic, linear, and fractal temperaments related to the Semantic system.
    [Show full text]
  • Just Intonation © Copyright Juhan Puhm 2016 Puhm Juhan Copyright © Intonation Just Btly Alter Pitch in Real Time
    ! "#$%! &'%(')%*('! ! ! "#+)'!,#+- !!! "#$%!&'%(')%*"#$%!&'%(')%*('('('('!!!! A Just Intonation Tuning deals with exact number ratios while a Temperament deals with irrational approximations to a Tuning. A Tuning then is constructed using only exact or rational numeric intervals between pitches. While we may revel in the beauty of the pure consonance of a Just Intonation Tuning, Tunings at the same time place great restrictions upon our ability to create comprehensive musical systems and instruments. Ironically the simpler and purer the Tuning we wish to use, the more convoluted and limited the musical system we can create and the more unwieldy the instruments necessary to realize any extension of that system. The result is we rarely ever tune fixed pitched instruments in Just Intonation. Harry Partch spent his lifetime inventing and building instruments that could play in Just Intonation. All is not black and white though. Only fixed pitch instruments suffer from this restriction. For the most part all performers on string and wind instruments and singers will automatically tune towards pure ratios. That is what it means to be in tune. Pure ratios or intervals are the benchmark we strive for harmonically when we have the ability to subtly alter pitch in real time. String players even tune their instruments to pure fifths and fourths. It could be said then that most music exists in a floating Tuning. Yet to create a mathematically perfect and workable system in Just Intonation becomes mind-boggling. What should be simple is anything but. Limits The intervals we hear to be most consonant have the simplest numeric intervals. Two notes playing in unison would then be in a 1:1 ratio.
    [Show full text]
  • Mémoire Tentamen
    Travail d'étude personnel Cycle supérieur Un regard musicien sur l'essai de 1739 de Leonhard Euler Élève : Samuel Plantard Tuteur : Pierre Cazes Année scolaire 2018/2019 Conservatoire national supérieur de musique et de danse de Paris Communication des mémoires et travaux d’étude personnels (TEP) Je, soussigné Plantard, Samuel, auteur du travail écrit intitulé Tentamen novae musicae theoriae, un regard musicien sur l'essai de 1739 de Leonhard Euler, déclare autoriser la libre consultation de cet ouvrage. J’autorise sa mise en ligne sur le site du Conservatoire X oui £ non J’autorise les copies de l’exemplaire déposé à la médiathèque £ oui X non Tentamen novae theoriae musicae ex certissimis harmoniae principiis dilucide expositae (ou Essai d’une nouvelle théorie de la musique exposée en toute clarté selon les principes de l’harmonie les mieux fondés) est le premier ouvrage d’une partie méconnue de l’œuvre de Leonhard Euler, portant sur la musique. Le célèbre mathématicien y expose les fondements d’une théorie originale de l’harmonie, avant de l’appliquer à la musique en général. Le but de ce travail est d’approcher de la perspective du musicien ce qui jusqu’à présent n’a été envisagé que par des scientifiques experts. Nous y resituons le système eulérien dans son contexte historique, avant d’en développer l’enjeu musical. Puis nous exposons les principes du suavitatis gradus - élément phare de l’essai d’Euler - avant de détailler ses applications musicales, à savoir les genres de musique, les genres d’accords et les modes, espérant rendre ces notions plus accessibles aux musiciens d’aujourd’hui, et encourager ces derniers à parcourir eux-mêmes les pages du traité d’Euler.
    [Show full text]
  • Contemporary Microtonal Music and Its Relationship to Past Practice
    Contents p. 3 Introduction p. 4 Ancient (pre-500 CE) and Early microtonal practices, systems, stylistics: Medieval (500-1400), Renaissance (1400-1600), Baroque (1600-1760), Ingram, Dumbril, Plato, Pythagoras, Heptagrams, Babylonia, Assyria, and Greco-Arab Texts p 7 Ancient practices and oral traditions p. 10 Al-Farabi, 17TET system, kitab al-Adwa, al-Andalas and barzok p. 14 Common microtonal practices, systems, stylistics (1600-1900): Baroque (1600-1760), Classical (1730-1820), Romantic (1815-1910) Bach, equal temperament, Glarean p. 17 Jamaica and Africa, Koromanti and Angola, Ethiopian bowl lyre (krar), Quadrille music in Carriacou p. 18 Post-romantic and Pre-modernism, experimental, Carrillo, Ives, Rimsky-Korsakov, Russolo, Experimentalism, polytonality, tone clusters, aleatorics, quarter-tones, polyrhythmic p. 19 Contemporary & modern microtonal practices, systems, stylistics: Modern (1890-1930), 20 th century (1901-2000), Contemporary (1975-present), Modernism, Dadaism, serialism, microtonality, Verèse, Webern, Wyschnegradsky, Hába, Carillo, Villa-Lobos, Ives, Partch, Cowell p. 22 Yasser, infra-diatonicism, supra-diatonicism, evolving tonality p. 31 Darmstadt, neotonality, dodecophony, Stockhausen, Boulez p. 30 22TET, A Just 12-tone scale built on powers of 3 and 5, diminished 7th blue note, 1960s Rio de Janiero Jazz, Bossa Nova, US jazz, flattened 5th and hexatonics in the Blues, New Orleans resurgence, Copacabana p. 34 Pitch and cognitive acculturation, development of musical thought and thought in sound, schematic and veridical expectancy, mistuning perception p. 37 Just, Bohlen-Pierce scale, Wusta-Zalzal, Masonic ratios, 22 tone system of India, Ragas, Messiaen, Babbitt, Cage, Young, French Spectralists, 53TET, 19TET, Bagpipe tuning p. 48 Midi, scale perception, semiotics, notation, re-creation, Turkish, Eskimo, Indonesian Slendro in 5TET (Salendro), Thai 7TET p.
    [Show full text]