© in This Web Service Cambridge University

Total Page:16

File Type:pdf, Size:1020Kb

© in This Web Service Cambridge University Cambridge University Press 978-0-521-61999-8 - Music: A Mathematical Offering Dave Benson Index More information Index Bold page numbers indicate a main entry. = 1 2π θ θ θ am π 0 cos(m ) f ( )d ,40 amplifier, 14, 268 AAC, 250 response, 53 Aaron, Pietro (ca. 1480–1550) amplitude, 6, 7, 17, 25, 26, 27 meantone temperament, 186 instantaneous, 90 abelian group, 325 modulation, 276 abs (CSound), 307 peak, 21, 25 absolute RMS, 25 integrability, 74 AMSLATEX, xiii value, 49 analogue acceleration, 19 modelling synthesizer, 71 acoustic signal, 245 law, Ohm’s, 11 synthesizer, 71, 268, 385 pressure, 107, 119, 142 angular velocity ω = 2πν, 21, 33 acoustics, 117, 137, 142 animals, hearing range of, 13 nonlinear, 71 antanairesis, 163 additive synthesis, 268 anvil, 8 ADSR envelope, 266 apical, 9 adufe, 117 apotom¯e, Pythagorean, 164, 181, 369 Aeolian, 379 approximation aeolsklavier, 91 rational, 214–223 aerophones, 91 Archytas of Tarentum (428–365 bce), 203 Africa, 131 arctan function, 218 Agamemnon, 313 area Agricola, Martin (1486–1556) density, 112, 133 monochord, 175 in polar coordinates, 75 AIFF sound file, 249, 291 Aristotle (384–322 bce), 4 air, 5 Aristoxenus (ca. 364–304 bce), 208 bulk modulus, 108, 142 arithmetic, clock, 333 algorithm Aron, see Aaron DX7, 285, 288 artifacts, 255 Euclid’s, 163, 223, 336 Ascending and Descending (Escher), 158 inductive, 215 ascending node, 222 Karplus–Strong, 273, 291 ascii, 292, 295 aliasing, 254 associative law, 87, 325 alpha scale (Carlos), 207, 232, astronomy, 147, 148 369 atonal music, 205, 348 alternating group, 355 attack, 266 aluminium, 129 AU sound file, 249 Alves, Bill, 381 auditory canal, 7 AM radio, 276 augmented triad, 342 amplification, 258 aulos, 171 393 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-61999-8 - Music: A Mathematical Offering Dave Benson Index More information 394 Index auricle, 7 Berg, Alban (1885–1935), 320, 348 authentic mode, 379 Bernoulli, Daniel (1700–1782), 37, 126 auxiliary equation, 28 solution of wave equation, 98 AVI movie file, 248 Bessel, F. W. (1784–1846) equation, 64 = 1 2π θ θ θ function, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, bm π 0 sin(m ) f ( )d ,40 Babbitt, Milton, 348 69, 282, 361 Bach, J. S. (1685–1750) computation of, 363 Italian Concerto, etc. (Rousset), 198, 381 graph of, 60 Jesu, der du meine Seele, 184 hyperbolic, 134 Musical Offering, 314 Neumann’s, 65 Organ Music (Fagius), 198, 381 power series for, 65 Partitia no. 5, Gigue, 183 zeros of, 114, 361 Toccata and Fugue in D, 312 horn, 121 Toccata in F minor, 192 beta scale (Carlos), 207, 232, 369 Well Tempered Clavier, 189 Bewitched, The (Partch), 385 Bach, P. D. Q. (1807–1742)?, 322, 360 Biber, Heinrich Ignaz Franz von (1644–1704), 381 Badings, Henk, 229 bifurcation, 288 bagel, 226 bijective function, 332 bagpipe tuning, 212 binary representation, 245 balafon, 91 birnd (CSound), 307 balance, 8 Blackwood, Easley (1933–), 228, 381 Balinese gamelan, 207 Blake, William (1757–1827), 319 bamboo marimba (Partch), 210 blend factor, 274 band pass filter, 151 block bandwidth, 35 diagram (DX7), 282 critical, 150, 151 periodicity, 237, 240, 344 Barca, Alessandro, 194 Bˆocher, Maxime (1867–1918), 53 Barker, Andrew, 208 Boethius, Anicius Manlius Severinus Barlow, Clarence, 228, 381 (ca. 480–524 ce), 171 Barnes, John, 196 Bohlen–Pierce scale, 162, 233, 368 baroque music, 181 Bologna State Museum, 230 Bart´ok, B´ela (1881–1945) Bombelli, Rafael (1526–1572), 215 Fifth String Quartet, 312 Boo I (Partch), 210 Music for Strings, Percussion and Celeste, 319 Bosanquet, Robert H. M. (1841–1912), 224 basal end of cochlea, 9 bottle, plucked, 275 base of natural logarithms, 218 Boulanger, Nadia (1887–1979), 233 basilar membrane, 9, 19, 151 Boulanger, Richard Charles (1956–), 236, 308 basis for a lattice, 238 boundary conditions, 96 bass bowed string, 49, 103 clef, 367, 375 parabolic envelope, 104 singer, 15 BP intervals, 234, 235 bassoon, 304 BP-just scale, 235 baud rate, MIDI, 251 brass, 120, 288 bc -l, 364 brightness, 268 beam equation, Euler–Bernoulli, 126 Brombaugh, John (organ builder), 189 beat, dead, 29 Brouncker, William (1620–1684), 218 beats, 23, 200, 368 Brown, Colin, 180 Beauty in the Beast (Carlos), 207 brown noise, 81 Beethoven, Ludwig van (1770–1827), 205, 312, 384 Brownian motion, 47, 81 B´ek´esy, Georg von (1899–1972), 11 Brun, Viggo (1885–1978), 223 bel (= 10 dB), 14 bulk modulus, 108, 142 bell, 138 bullroarer, 91 (FM & CSound), 300 Burnside, William (1852–1927) change ringing, 329 lemma, 345, 356 Chinese, 139 Buxtehude, Dietrich (ca. 1637–1707), 382 tubular, 122 Byrd, William (1543–1623), 188, 321, 382 Bendeler, P. (1654–1709) temperaments, 192 C1 function, 47 bending moment, 124 C++ Benedetti, Giovanni Battista (1530–1590), 171 Bessel calculator, 363 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-61999-8 - Music: A Mathematical Offering Dave Benson Index More information Index 395 C programming language, 291 Chowning, John, 278 calculus Chowning, Maureen, 236 vector, 118 chromatic calm temperaments, 199 genus, 203 Calvin and Hobbes, scale, 207 campanology, 329 church modes, medieval, 379 canal circle of fifths, 164, 337 auditory, 7 circular motion, 26 semicircular, 8 circulating temperament, 189 Cancrizans, 314 clarinet, 15, 41, 91, 110, 234, 289, 304 canon classes, pitch, 300, 334 retrograde/crab, 314 classical harmony, 181 capacitor, 277 clef, 367, 374 cards, shuffling, 359 clipping, 292 Carlos, Wendy (1939–), 207, 212, 231, 369, 382 clock arithmetic, 333 Carpenter, Charles, 237, 383 closed carrier frequency, 277 bounded region, 118 carry feature (CSound), 299 interval, 47, 50 Carter, Elliott, 348 tube, 108 Cartesian cochlea, 8, 13, 19 product, 339 collision frequency, 5 cascade modulation, 285 coloratura soprano, 236 Cataldi, P. A. (1548–1623), 215 colour, 4, 146 cathode ray tube, 53 columnella, 9 Cauchy, Augustin Louis (1789–1857) combination tone, 155 integral formula, 67 comma, 163, 164, 166, 168, 171, 172, 181 principal value, 74 BP 7/3, 235, 369 Caus, Salomon de (ca. 1576–1626) ditonic, 163 monochord, 175 notation (superscript), 172 causality, 87 of Didymus, 168 cello, 186 ordinary, 168 centroid, 125 Ptolemaic, 168 cents, 16, 166, 369 Pythagorean, 163, 166, 190, 201, 223, 225, 369 cepstrum, 88 scale of, 226 Ces`aro, Ernesto (1859–1906) septimal, 171, 369 sum, 47, 51, 55 syntonic, 168, 369, 377 chain commutative ossicular, 8 law, 87, 325 rule, multivariable, 96 ring, 355 Chalmers, John (1940–), 212 compact disc, 245 Chambonni`eres, Jacques Champion de Alves, 214, 381 (ca. 1601–1672), 383, 385 Bach/Christophe Rousset, 198, 381 change ringing, 329 Bach/Hans Fagius, 198, 381 Chao Jung-Tze, 217 Between the Keys, 228, 381 chaos, 47, 288, 291 Biber, 188, 381 character theory, 261, 337 Blackwood, 228, 381 Chaw, Ousainou, 103 Buxtehude, 382 Chebyshev, Pafnuti L. (1821–1894) Byrd, 321, 382 polynomials, 309 Carlos, 207, 214, 382 chimaeric sounds, 90 Carpenter, 237, 383 Chinese Chambonni`eres, 188, 383 bells, 139 Chapman, 189, 383 L¨u scale, 211 Chemillier, 324, 383 Chladni, Ernst F. F. (1756–1827) Computer Music Journal, 381 drawings, 137 Cook, 237, 383 patterns, 115 d’Anglebert, 189, 383 Chopin, Fr´ed´eric Fran¸cois (1810–1849), 205, 384 Froberger, 189 Etude´ , Op. 25 No. 10, 338 Harrison, 198, 214, 383 Waltz, Op. 34 No. 2, 314 Harvey, 384 chordophones, 91 Haverstick, 228, 384 chorus, 251, 268 Haydn, 321, 384 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-61999-8 - Music: A Mathematical Offering Dave Benson Index More information 396 Index compact disc (cont.) cos, cosh, cosinv (CSound), 307 Houtsma, Rossing & Wagenaars, 160, 384 coset, 239, 342 Johnson, 384 representatives, 237, 343 Katahn/Foote, 189, 198, 384 counting problems, 353 Lagac´e, Wellesley organ, 189, 384 Couperin, Fran¸cois (1668–1733), 198, 385 Machaut/Hilliard Ensemble, 165, 322, 384 Couperin, Louis (1626–1661), 385 Mathews & Pierce, 237, 384 coupled oscillators, 222 Microtonal Works, 384 crab canon, 314 Parmentier, 189, 385 critical bandwidth, 150, 151 Partch, 214, 385 critically damped system, 30 Rich, 214, 385 crystallography, 318 Sethares, 155, 385 Cscore, 307 Tomita/Mussorgsky, 266, 385 CSound, 291, 381 Winkelman, 189, 198, 385 AV, 308 Xentonality (Sethares), 228, 385 The CSound book, 308 complementary function, 32 curvature, radius of, 125 completeness, 119 cycle complex per second, 13 analysis, 67 index, 354 exponential, 54 notation, 327 numbers, 33, 54, 223 of fifths, 164 Composers Recordings Inc., 385 cyclic group, 312, 335 compression, data, 249 Cygwin, 364 concert hall acoustics, 142 cylinder of thirds and fifths, 186 concert pitch, 21 cymbal, 13, 91, 137 concertina, 204 conch shell, 91 d’Alembert, Jean-le-Rond (1717–1783), 37, 94, 143 concha, 7 d’Anglebert, Jean-Henri (1635–1691), 383, 385 configuration, 353 damped harmonic motion, 17, 28 counting series, 355 DAT, 245 congruence, 334 data conical tube, 110 compression, 249 conjunction of tetrachords, 202 transmission, MIDI, 251 consonance, 144, 146, 148 DATA chunk, 249 continued fractions, 214, 219, 230 dB, 14 for e, 218 dB SPL, 14 / for log2(3 2), 223 dBA, 14 / / / for log2(3 2) log2(5 4), 232 dead beat, 29 / for log3(7 3), 234 Debussy, Claude (1862–1918) for √π, 216 Reverieˆ , 320 for 2, 222 decay, 266 periodic, 222 of Fourier coefficients, 50 continued subtraction, 163 stretching, 275 continuous decibels, 14 dependence on initial conditions, 102 deciem (bell), 138 function, 46 delay, 257, 268, 271, 273 nowhere differentiable, 47 t, time between samples, 251 piecewise, 50 δ(t), Dirac delta function, 82, 251 control rate (CSound), 292 δs(t), sampling function, 252 convergence density, 93, 112, 124, 133 mean square, 48 derivative, 46 pointwise, 51, 53 partial, 92 uniform, 40, 42, 51, 53 descending node, 222 convergents, 217, 234 determinant, 239 convex drums, 120 Deutsch, Diana, 159 convolution, 86, 259 diaschisma, 171, 174, 369 convolve, 86 diatonic Cooley and Tukey, 263, 264 genus, 203 coordinates, polar, 75, 80, 113 syntonic scale, 202 Cordier, Serge, 201 Didymus ho mousicos (1st c.
Recommended publications
  • 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.
    [Show full text]
  • Download the Just Intonation Primer
    THE JUST INTONATION PPRIRIMMEERR An introduction to the theory and practice of Just Intonation by David B. Doty Uncommon Practice — a CD of original music in Just Intonation by David B. Doty This CD contains seven compositions in Just Intonation in diverse styles — ranging from short “fractured pop tunes” to extended orchestral movements — realized by means of MIDI technology. My principal objectives in creating this music were twofold: to explore some of the novel possibilities offered by Just Intonation and to make emotionally and intellectually satisfying music. I believe I have achieved both of these goals to a significant degree. ——David B. Doty The selections on this CD pro­­cess—about synthesis, decisions. This is definitely detected in certain struc- were composed between sampling, and MIDI, about not experimental music, in tures and styles of elabora- approximately 1984 and Just Intonation, and about the Cageian sense—I am tion. More prominent are 1995 and recorded in 1998. what compositional styles more interested in result styles of polyphony from the All of them use some form and techniques are suited (aesthetic response) than Western European Middle of Just Intonation. This to various just tunings. process. Ages and Renaissance, method of tuning is com- Taken collectively, there It is tonal music (with a garage rock from the 1960s, mendable for its inherent is no conventional name lowercase t), music in which Balkan instrumental dance beauty, its variety, and its for the music that resulted hierarchic relations of tones music, the ancient Japanese long history (it is as old from this process, other are important and in which court music gagaku, Greek as civilization).
    [Show full text]
  • ASR-X Pro 3.00
    9ÑSupplemental Information 9 Suppll ementttall II nffformatttii on Lii sttt offf ROM Waves KEYBOARD ELEC PIANO JAMM SNARE CONGA LOW PERC ORGAN LIVE SNARE CONGA MUTE DRAWBAR LUDWIG SNARE CONGA SLAP ORGAN MUTT SNARE CUICA PAD SYNTH REAL SNARE ETHNO COWBELL STRII NG-SOUND STRING HIT RIMSHOT GUIRO MUTE GUITAR SLANG SNARE MARACAS MUTE GUITARWF SPAK SNARE SHAKER GTR-SLIDE WOLF SNARE SHEKERE DN BRASS+HORNS HORN HIT ZEE SNARE SHEKERE UP WII ND+REEDS BARI SAX HIT BRUSH SLAP SLAP CLAP BASS-SOUND UPRIGHT BASS SIDE STICK 1 TAMBOURINE DN BS HARMONICS SIDE STICK 2 TAMBOURINE UP FM BASS STICKS TIMBALE HI ANALOG BASS 1 STUDIO TOM TIMBALE LO ANALOG BASS 2 ROCK TOM TIMBALE RIM FRETLESS BASS 909 TOM TRIANGLE HIT MUTE BASS SYNTH DRUM VIBRASLAP SLAP BASS CYMBALS 808 CLOSED HT WHISTLE DRUM-SOUND 2001 KICK 808 OPEN HAT WOODBLOCK 808 KICK 909 CLOSED HT TUNED-PERCUS BIG BELL AMBIENT KICK 909 OPEN HAT SMALL BELL BAM KICK HOUSE CL HAT GAMELAN BELL BANG KICK PEDAL HAT MARIMBA BBM KICK PZ CL HAT MARIMBA WF BOOM KICK R&B CL HAT SOUND-EFFECT SCRATCH 1 COSMO KICK SMACK CL HAT SCRATCH 2 ELECTRO KICK SNICK CL HAT SCRATCH 3 MUFF KICK STUDIO CL HAT SCRATCH 4 PZ KICK STUDIO OPHAT1 SCRATCH 5 SNICK KICK STUDIO OPHAT2 SCRATCH 6 THUMP KICK TECHNO HAT SCRATCH LOOP TITE KICK TIGHT CL HAT WAVEFORM SAWTOOTH WILD KICK TRANCE CL HAT SQUARE WAVE WOLF KICK CR78 OPENHAT TRIANGLE WAV WOO BOX KICK COMPRESS OPHT SQR+SAW WF 808 SNARE CRASH CYMBAL SINE WAVE 808 RIMSHOT CRASH LOOP ESQ BELL WF 909 SNARE RIDE CYMBAL BELL WF BANG SNARE RIDE BELL DIGITAL WF BIG ROCK SNAR CHINA CRASH E PIANO WF
    [Show full text]
  • Different Ecological Processes Determined the Alpha and Beta Components of Taxonomic, Functional, and Phylogenetic Diversity
    Different ecological processes determined the alpha and beta components of taxonomic, functional, and phylogenetic diversity for plant communities in dryland regions of Northwest China Jianming Wang1, Chen Chen1, Jingwen Li1, Yiming Feng2 and Qi Lu2 1 College of Forestry, Beijing Forestry University, Beijing, China 2 Institute of Desertification Studies, Chinese Academy of Forestry, Beijing, China ABSTRACT Drylands account for more than 30% of China’s terrestrial area, while the ecological drivers of taxonomic (TD), functional (FD) and phylogenetic (PD) diversity in dryland regions have not been explored simultaneously. Therefore, we selected 36 plots of desert and 32 plots of grassland (10 Â 10 m) from a typical dryland region of northwest China. We calculated the alpha and beta components of TD, FD and PD for 68 dryland plant communities using Rao quadratic entropy index, which included 233 plant species. Redundancy analyses and variation partitioning analyses were used to explore the relative influence of environmental and spatial factors on the above three facets of diversity, at the alpha and beta scales. We found that soil, climate, topography and spatial structures (principal coordinates of neighbor matrices) were significantly correlated with TD, FD and PD at both alpha and beta scales, implying that these diversity patterns are shaped by contemporary environment and spatial processes together. However, we also found that alpha diversity was predominantly regulated by spatial structure, whereas beta diversity was largely determined by environmental variables. Among environmental factors, TD was Submitted 10 June 2018 most strongly correlated with climatic factors at the alpha scale, while 5 December 2018 Accepted with soil factors at the beta scale.
    [Show full text]
  • IALL2017): Law, Language and Justice
    Proceedings of The Fifteenth International Conference on Law and Language of the International Academy of Linguistic Law (IALL2017): Law, Language and Justice May, 16-18, 2017 Hangzhou, China and Montréal, Québec, Canada Chief Editors: Ye Ning, Joseph-G. Turi, and Cheng Le Editors: Lisa Hale, and Jin Zhang Cover Designer: Lu Xi Published by The American Scholars Press, Inc. The Proceedings of The Fifteenth International Conference on Law, Language of the International Academy of Linguistic Law (IALL2017): Law, Language, and Justice is published by the American Scholars Press, Inc., Marietta, Georgia, USA. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems, without permission in writing from the publisher. Copyright © 2017 by the American Scholars Press All rights reserved. ISBN: 978-0-9721479-7-2 Printed in the United States of America 2 Foreword In this sunny and green early summer, you, experts and delegates from different parts of the world, come together beside the Qiantang River in Hangzhou, to participate in The Fifteenth International Conference on Law and Language of the International Academy of Linguistic Law. On the occasion of the opening ceremony, it gives me such great pleasure on behalf of Zhejiang Police College, and also on my own part, to extend a warm welcome to all the distinguished experts and delegates. At the same time, thanks for giving so much trust and support to Zhejiang Police College. Currently, the law-based governance of the country is comprehensively promoted in China. As Xi Jinping, Chinese president, said, “during the entire reform process, we should attach great importance to applying the idea of rule of law and the way of rule of law to play the leading and driving role of rule of law”.
    [Show full text]
  • Pietro Aaron on Musica Plana: a Translation and Commentary on Book I of the Libri Tres De Institutione Harmonica (1516)
    Pietro Aaron on musica plana: A Translation and Commentary on Book I of the Libri tres de institutione harmonica (1516) Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Joseph Bester, B.A., M.A. Graduate Program in Music The Ohio State University 2013 Dissertation Committee: Graeme M. Boone, Advisor Charles Atkinson Burdette Green Copyright by Matthew Joseph Bester 2013 Abstract Historians of music theory long have recognized the importance of the sixteenth- century Florentine theorist Pietro Aaron for his influential vernacular treatises on practical matters concerning polyphony, most notably his Toscanello in musica (Venice, 1523) and his Trattato della natura et cognitione de tutti gli tuoni di canto figurato (Venice, 1525). Less often discussed is Aaron’s treatment of plainsong, the most complete statement of which occurs in the opening book of his first published treatise, the Libri tres de institutione harmonica (Bologna, 1516). The present dissertation aims to assess and contextualize Aaron’s perspective on the subject with a translation and commentary on the first book of the De institutione harmonica. The extensive commentary endeavors to situate Aaron’s treatment of plainsong more concretely within the history of music theory, with particular focus on some of the most prominent treatises that were circulating in the decades prior to the publication of the De institutione harmonica. This includes works by such well-known theorists as Marchetto da Padova, Johannes Tinctoris, and Franchinus Gaffurius, but equally significant are certain lesser-known practical works on the topic of plainsong from around the turn of the century, some of which are in the vernacular Italian, including Bonaventura da Brescia’s Breviloquium musicale (1497), the anonymous Compendium musices (1499), and the anonymous Quaestiones et solutiones (c.1500).
    [Show full text]
  • A Study of Microtones in Pop Music
    University of Huddersfield Repository Chadwin, Daniel James Applying microtonality to pop songwriting: A study of microtones in pop music Original Citation Chadwin, Daniel James (2019) Applying microtonality to pop songwriting: A study of microtones in pop music. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34977/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Applying microtonality to pop songwriting A study of microtones in pop music Daniel James Chadwin Student number: 1568815 A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts University of Huddersfield May 2019 1 Abstract While temperament and expanded tunings have not been widely adopted by pop and rock musicians historically speaking, there has recently been an increased interest in microtones from modern artists and in online discussion.
    [Show full text]
  • Mto.95.1.4.Cuciurean
    Volume 1, Number 4, July 1995 Copyright © 1995 Society for Music Theory John D. Cuciurean KEYWORDS: scale, interval, equal temperament, mean-tone temperament, Pythagorean tuning, group theory, diatonic scale, music cognition ABSTRACT: In Mathematical Models of Musical Scales, Mark Lindley and Ronald Turner-Smith attempt to model scales by rejecting traditional Pythagorean ideas and applying modern algebraic techniques of group theory. In a recent MTO collaboration, the same authors summarize their work with less emphasis on the mathematical apparatus. This review complements that article, discussing sections of the book the article ignores and examining unique aspects of their models. [1] From the earliest known music-theoretical writings of the ancient Greeks, mathematics has played a crucial role in the development of our understanding of the mechanics of music. Mathematics not only proves useful as a tool for defining the physical characteristics of sound, but abstractly underlies many of the current methods of analysis. Following Pythagorean models, theorists from the middle ages to the present day who are concerned with intonation and tuning use proportions and ratios as the primary language in their music-theoretic discourse. However, few theorists in dealing with scales have incorporated abstract algebraic concepts in as systematic a manner as the recent collaboration between music scholar Mark Lindley and mathematician Ronald Turner-Smith.(1) In their new treatise, Mathematical Models of Musical Scales: A New Approach, the authors “reject the ancient Pythagorean idea that music somehow &lsquois’ number, and . show how to design mathematical models for musical scales and systems according to some more modern principles” (7).
    [Show full text]
  • Musical Techniques
    Musical Techniques Musical Techniques Frequencies and Harmony Dominique Paret Serge Sibony First published 2017 in Great Britain and the United States by ISTE Ltd and John Wiley & Sons, Inc. Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act 1988, this publication may only be reproduced, stored or transmitted, in any form or by any means, with the prior permission in writing of the publishers, or in the case of reprographic reproduction in accordance with the terms and licenses issued by the CLA. Enquiries concerning reproduction outside these terms should be sent to the publishers at the undermentioned address: ISTE Ltd John Wiley & Sons, Inc. 27-37 St George’s Road 111 River Street London SW19 4EU Hoboken, NJ 07030 UK USA www.iste.co.uk www.wiley.com © ISTE Ltd 2017 The rights of Dominique Paret and Serge Sibony to be identified as the authors of this work have been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. Library of Congress Control Number: 2016960997 British Library Cataloguing-in-Publication Data A CIP record for this book is available from the British Library ISBN 978-1-78630-058-4 Contents Preface ........................................... xiii Introduction ........................................ xv Part 1. Laying the Foundations ............................ 1 Introduction to Part 1 .................................. 3 Chapter 1. Sounds, Creation and Generation of Notes ................................... 5 1.1. Physical and physiological notions of a sound .................. 5 1.1.1. Auditory apparatus ............................... 5 1.1.2. Physical concepts of a sound .......................... 7 1.1.3.
    [Show full text]
  • Tuning: at the Grcssroads
    WendyGarloo ?O. Box1024 Tuning:At the New YorkCit, New York 10276USA Grcssroads lntrodrciion planned the construction of instruments that per- formed within the new "tunitrg of choice," and all The arena o{ musical scales and tuning has cer_ publishedpapers or books demonstretingthe supe- tainly not been a quiet place to be for the past thlee dority of their new scales in at least some way over hundred yeals. But it might iust as well have beenif €qual temperament.The tradition has continued we iudge by the results: the same 12V2 equally with Yunik and Swi{t {1980),Blackwood (1982),and temperedscale established then as the best avail- the presentauthor (Milano 1986),and shows no able tuning compromise, by J. S. Bach and many sign of slowing down despite the apparent apathy otheis lHelrnholtz 1954j Apel 1972),remains to with which the musical mainstream has regularly this day essentially the only scale heard in Westem grceted eech new proposal. music. That monopoly crossesall musical styles, of course therc's a perf€ctly reasonable explana- {rom the most contemporary of jazz and av^rf,t' tion lor the mainstream's evident preferetrce to rc- "rut-bound" gardeclassical, and musical masteeieces from the main when by now there are at least past, to the latest technopop rock with fancy s)'n- a dozen clearly better-sounding ways to tune our thesizers,and everwvherein between.Instruments scales,i{ only for at least part of the time: it re' ol the symphonyorchestra a((empr with varyirrg quires a lot of effort ol several kinds. I'm typing this deSreesof successto live up ro lhe 100-centsemi manuscript using a Dvorak keyboard (lor the ffrst tone, even though many would find it inherently far time!), and I assureyou it's not easyto unlearn the easierto do otherwise: the stdngs to "lapse" into QWERTY habits of a lifetime, even though I can Pythagoieen tuning, the brass into several keys of akeady feel the actual superiodty of this unloved lust irtonation lBarbour 1953).And th€se easily but demonstrablv better kevboard.
    [Show full text]
  • Tuning, Timbre, Spectrum, Scale William A
    Tuning, Timbre, Spectrum, Scale William A. Sethares Tuning, Timbre, Spectrum, Scale Second Edition With 149 Figures William A. Sethares, Ph.D. Department of Electrical and Computer Engineering University of Wisconsin–Madison 1415 Johnson Drive Madison, WI 53706-1691 USA British Library Cataloguing in Publication Data Sethares, William A., 1955– Tuning, timbre, spectrum, scale.—2nd ed. 1. Sound 2. Tuning 3. Tone color (Music) 4. Musical intervals and scales 5. Psychoacoustics 6. Music—Acoustics and physics I. Title 781.2′3 ISBN 1852337974 Library of Congress Cataloging-in-Publication Data Sethares, William A., 1955– Tuning, timbre, spectrum, scale / William A. Sethares. p. cm. Includes bibliographical references and index. ISBN 1-85233-797-4 (alk. paper) 1. Sound. 2. Tuning. 3. Tone color (Music) 4. Musical intervals and scales. 5. Psychoacoustics. 6. Music—Acoustics and physics. I. Title. QC225.7.S48 2004 534—dc22 2004049190 Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act 1988, this publication may only be reproduced, stored or transmitted, in any form or by any means, with the prior permission in writing of the publishers, or in the case of reprographic reproduction in accordance with the terms of licences issued by the Copyright Licensing Agency. Enquiries con- cerning reproduction outside those terms should be sent to the publishers. ISBN 1-85233-797-4 2nd edition Springer-Verlag London Berlin Heidelberg ISBN 3-540-76173-X 1st edition Springer-Verlag Berlin Heidelberg New York Springer Science+Business Media springeronline.com © Springer-Verlag London Limited 2005 Printed in the United States of America First published 1999 Second edition 2005 The software disk accompanying this book and all material contained on it is supplied without any warranty of any kind.
    [Show full text]
  • Encyclopedia of the History of Arabic Science. Volume 2, Mathematics
    Encyclopedia of the History of Arabic Science Encyclopedia of the History of Arabic Science Volume 2 Edited by ROSHDI RASHED in collaboration with RÉGIS MORELON LONDON AND NEW YORK First published in 1996 by Routledge 11 New Fetter Lane, London EC4P 4EE 29 West 35th Street, New York, NY 10001 This edition published in the Taylor & Francis e-Library, 2009. To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk. Structure and editorial matter © 1996 Routledge The chapters © 1996 Routledge All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. Library of Congress Cataloguing-in-Publication Data A catalogue record for this book is available on request. ISBN 0-203-40360-6 Master e-book ISBN ISBN 0-203-71184-X (Adobe ebook Reader Format) ISBN 0-415-12411-5 (Print Edition) 3 volume set ISBN 0-415-02063-8 Contents VOLUME 1 Contents v Preface ix 1 General survey of Arabic astronomy Régis Morelon 1 2 Eastern Arabic astronomy between the eighth and the eleventh centuries 20 Régis Morelon 3 Arabic planetary theories after the eleventh century AD 58 George Saliba 4 Astronomy and
    [Show full text]