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Microtonal Music
Microtonal music or microtonality is the use in music of microtones—intervals smaller than a semitone, also called "microintervals". It may also be extended to include any music using intervals not found in the customary Western tuning of twelve equal intervals per octave. In other words, a microtone may be thought of as a note that falls between the keys of a piano tuned in equal temperament. Terminology Microtone ''Microtonal music'' can refer to any music containing microtones. The words "microtone" and "microtonal" were coined before 1912 by Maud MacCarthy Mann in order to avoid the misnomer " quarter tone" when speaking of the srutis of Indian music. Prior to this time the term "quarter tone" was used, confusingly, not only for an interval actually half the size of a semitone, but also for all intervals (considerably) smaller than a semitone. It may have been even slightly earlier, perhaps as early as 1895, that the Mexican composer Julián Carrillo, writing in S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Interval (music)
In music theory, an interval is a difference in pitch between two sounds. An interval may be described as horizontal, linear, or melodic if it refers to successively sounding tones, such as two adjacent pitches in a melody, and vertical or harmonic if it pertains to simultaneously sounding tones, such as in a chord. In Western music, intervals are most commonly differences between notes of a diatonic scale. Intervals between successive notes of a scale are also known as scale steps. The smallest of these intervals is a semitone. Intervals smaller than a semitone are called microtones. They can be formed using the notes of various kinds of non-diatonic scales. Some of the very smallest ones are called commas, and describe small discrepancies, observed in some tuning systems, between enharmonically equivalent notes such as C and D. Intervals can be arbitrarily small, and even imperceptible to the human ear. In physical terms, an interval is the ratio between two sonic f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diesis
In classical music from Western culture, a diesis ( , plural dieses ( , "difference"; Greek: δίεσις "leak" or "escape"Benson, Dave (2006). ''Music: A Mathematical Offering'', p.171. . Based on the technique of playing the aulos, where pitch is raised a small amount by slightly raising the finger on the lowest closed hole, letting a small amount of air "escape".) is either an accidental (see sharp), or a very small musical interval, usually defined as the difference between an octave (in the ratio 2:1) and three justly tuned major thirds (tuned in the ratio 5:4), equal to 128:125 or about 41.06 cents. In 12-tone equal temperament (on a piano for example) three major thirds in a row equal an octave, but three justly-tuned major thirds fall quite a bit narrow of an octave, and the diesis describes the amount by which they are short. For instance, an octave (2:1) spans from C to C', and three justly tuned major thirds (5:4) span from C to B (namely, from C, to E, to G, t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arabic Music
Arabic music or Arab music ( ar, الموسيقى العربية, al-mūsīqā al-ʿArabīyyah) is the music of the Arab world with all its diverse music styles and genres. Arabic countries have many rich and varied styles of music and also many linguistic dialects, with each country and region having their own traditional music. Arabic music has a long history of interaction with many other regional musical styles and genres. It represents the music of all the peoples that make up the Arab world today, all the 22 states. History Pre-Islamic period (Arabian Peninsula) Pre-Islamic Arabia was the cradle of many intellectual achievements, including music, musical theory and the development of musical instruments. In Yemen, the main center of pre-Islamic Arab sciences, literature and arts, musicians benefited from the patronage of the Kings of Sabaʾ who encouraged the development of music. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Byzantine Chant
Byzantine music (Greek: Βυζαντινή μουσική) is the music of the Byzantine Empire. Originally it consisted of songs and hymns composed to Greek texts used for courtly ceremonials, during festivals, or as paraliturgical and liturgical music. The ecclesiastical forms of Byzantine music are the best known forms today, because different Orthodox traditions still identify with the heritage of Byzantine music, when their cantors sing monodic chant out of the traditional chant books such as the Sticherarion, which in fact consisted of five books, and the Irmologion. Byzantine music did not disappear after the fall of Constantinople. Its traditions continued under the Patriarch of Constantinople, who after the Ottoman conquest in 1453 was granted administrative responsibilities over all Eastern Orthodox Christians in the Ottoman Empire. During the decline of the Ottoman Empire in the 19th century, burgeoning splinter nations in the Balkans declared autonomy or autocephaly f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mean-tone Temperament
Meantone temperament is a musical temperament, that is a tuning system, obtained by narrowing the fifths so that their ratio is slightly less than 3:2 (making them ''narrower'' than a perfect fifth), in order to push the thirds closer to pure. Meantone temperaments are constructed the same way as Pythagorean tuning, as a stack of equal fifths, but it is a ''temperament'' in that the fifths are not pure. Notable meantone temperaments Equal temperament, obtained by making all semitones the same size, each equal to one-twelfth of an octave (with ratio the 12th root of 2 to one (:1), narrows the fifths by about 2 cents or 1/12 of a Pythagorean comma, and produces thirds that are only slightly better than in Pythagorean tuning. Equal temperament is roughly the same as 1/11 comma meantone tuning. Quarter-comma meantone, which tempers the fifths by 1/4 of a syntonic comma, is the best known type of meantone temperament, and the term ''meantone temperament'' is often used to refer ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Just Intonation
In music, just intonation or pure intonation is the tuning of musical intervals as whole number ratios (such as 3:2 or 4:3) of frequencies. An interval tuned in this way is said to be pure, and is called a just interval. Just intervals (and chords created by combining them) consist of tones from a single harmonic series of an implied fundamental. For example, in the diagram, if the notes G3 and C4 (labelled 3 and 4) are tuned as members of the harmonic series of the lowest C, their frequencies will be 3 and 4 times the fundamental frequency. The interval ratio between C4 and G3 is therefore 4:3, a just fourth. In Western musical practice, instruments are rarely tuned using only pure intervals—the desire for different keys to have identical intervals in Western music makes this impractical. Some instruments of fixed pitch, such as electric pianos, are commonly tuned using equal temperament, in which all intervals other than octaves consist of irrational-number freq ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Octave
In music, an octave ( la, octavus: eighth) or perfect octave (sometimes called the diapason) is the interval between one musical pitch and another with double its frequency. The octave relationship is a natural phenomenon that has been referred to as the "basic miracle of music," the use of which is "common in most musical systems." The interval between the first and second harmonics of the harmonic series is an octave. In Western music notation, notes separated by an octave (or multiple octaves) have the same name and are of the same pitch class. To emphasize that it is one of the perfect intervals (including unison, perfect fourth, and perfect fifth), the octave is designated P8. Other interval qualities are also possible, though rare. The octave above or below an indicated note is sometimes abbreviated ''8a'' or ''8va'' ( it, all'ottava), ''8va bassa'' ( it, all'ottava bassa, sometimes also ''8vb''), or simply ''8'' for the octave in the direction indicated by pl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ancient Greece
Ancient Greece ( el, Ἑλλάς, Hellás) was a northeastern Mediterranean Sea, Mediterranean civilization, existing from the Greek Dark Ages of the 12th–9th centuries BC to the end of Classical Antiquity, classical antiquity ( AD 600), that comprised a loose collection of culturally and linguistically related polis, city-states and other territories. Most of these regions were officially unified only once, for 13 years, under Alexander the Great's Macedonian empire, empire from 336 to 323 BC (though this excludes a number of Greek city-states free from Alexander's jurisdiction in the western Mediterranean, around the Black Sea, Cyprus, and Cyrenaica). In Western history, the era of classical antiquity was immediately followed by the Early Middle Ages and the Byzantine period. Roughly three centuries after the Late Bronze Age collapse of Mycenaean Greece, Greek urban poleis began to form in the 8th century BC, ushering in the Archaic Greece, Archaic period and Greek colonis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Enharmonic
In modern musical notation and tuning, an enharmonic equivalent is a note, interval, or key signature that is equivalent to some other note, interval, or key signature but "spelled", or named differently. The enharmonic spelling of a written note, interval, or chord is an alternative way to write that note, interval, or chord. The term is derived from Latin ''enharmonicus'', from Late Latin ''enarmonius'', from Ancient Greek ἐναρμόνιος (''enarmónios''), from ἐν (''en'') and ἁρμονία (''harmonía''). Definition For example, in any twelve-tone equal temperament (the predominant system of musical tuning in Western music), the notes C and D are ''enharmonic'' (or ''enharmonically equivalent'') notes. Namely, they are the same key on a keyboard, and thus they are identical in pitch, although they have different names and different roles in harmony and chord progressions. Arbitrary amounts of accidentals can produce further enharmonic equivalents, such as B ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mark Lindley
Mark Lindley (born 1937) is a noted musicologist and, more recently, a historian of modern India, and a teacher of economics. Born in Washington, D.C., he studied at Harvard University (A.B.), the Juilliard School of Music (M.S.) and Columbia University (D. Phil.). He has taught at various universities, including Columbia University, City University of New York, Washington University, University of London, Oxford University, University of Regensburg, Chinese University of Hong Kong, University of Kerala, Istanbul Technical University, Yildiz Technical University, Bogaziçi University, and the University of Hyderabad, where he served in 2015 as the University Chair professor in the School of Economics. He has also lectured on economics at Gujarat Vidyapith, at Dr. Babasaheb Ambedkar Marathwada University and at the Gokhale Institute of Politics and Economics. He has held research fellowships at the Gandhi Research Foundation, and was a visiting professor in 2016 at the Universi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paul Griffiths (writer)
Paul Anthony Griffiths (born 1947) is a British music critic, novelist and librettist. He is particularly noted for his writings on modern classical music and for having written the libretti for two 20th century operas, Tan Dun's ''Marco Polo'' and Elliott Carter's '' What Next?''. Career Paul Griffiths was born on 24 November 1947 in the Welsh town of Bridgend to Fred and Jeanne Griffiths. He received his BA and MSc in biochemistry from University of Oxford, and from 1971 worked as a freelance music critic. He joined the editorial staff of ''The New Grove Dictionary of Music and Musicians'' in 1973 and in 1982 became the chief music critic for ''The Times'', a post which he held for ten years. From 1992 to 1996, he was a music critic for ''The New Yorker'', and from 1997 to 2005, for ''The New York Times''. A collection of his musical criticism for these and other periodicals was published in 2005 as ''The substance of things heard: writings about music'', Volume 31 of ''Ea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diaschisma
The diaschisma (or diacisma) is a small musical interval defined as the difference between three octaves and four perfect fifths plus two major thirds (in just intonation). It can be represented by the ratio 2048:2025 and is about 19.5 cents. The use of the name diaschisma for this interval is due to Helmholtz; earlier Rameau had called that interval a "diminished comma" or comma minor. A diaschisma is the difference between a schisma and a syntonic comma, as well as the difference between the greater chromatic semitone (135:128 = 92.18 cents) and the just minor second (16:15 = 111.73 cents). (1897). Columbian cyclopedia, Volume 9', np. Garretson, Cox & Company. pre-ISBN. Medieval theorists Boethius and Tinctoris described the diaschisma as one-half of the Pythagorean minor second, or 256/243, which would make the other half either 25/24 (70.67 cents) or about 45 cents. The diaschisma may be approximated by 89/88, 19.56 cents. Tempering out the diaschisma, in the modern m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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