Pitch

Haynes, Bruce; Cooke, Peter

doi:10.1093/gmo/9781561592630.article.40883

Cited by 10 publications

(9 citation statements)

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“…For example, the Pittsburgh Symphony Orchestra uses a standard pitch of 442 Hz, the New York Philharmonic Orchestra uses a pitch of 441.5 Hz, and the Berlin Philharmonic Orchestra uses a pitch of 445 Hz. In a recent study, Haynes (1998Haynes ( , p. 1828) observed a trend toward higher pitch with a mean of 445 Hz (no raw data indicated) and a maximum of 450 Hz. The value of 442.5 Hz was also recommended by one of the subjects of this study (Subject P), whose orchestra uses this tuning pitch.…”

Section: Methodsmentioning

confidence: 96%

Intonation of Harmonic Intervals: Adaptability of Expert Musicians to Equal Temperament and Just Intonation

Kopiez¹

2003

Music Perception

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This study examines the deviation in the intonation of simultaneously sounding tones under the condition of an embedded melody task. Two professional musicians (trumpet players) were chosen as subjects to play the missing upper voice of a four-part audio example, while listening via headphones to the remaining three parts in adaptive five-limit just intonation and equal temperament. The experimental paradigm was that of a controlled varied condition with a 2 (tuning systems) ×× 5 (interval categories) ×× 5 (renditions) ×× 2 (players) factorial design. An analysis of variance showed a nonsignificant difference between the average deviation of harmonic intonation in the two systems used. Mean deviations of 4.9 cents (SD = 6.5 cents) in the equal-temperament condition and of 6.7 cents (SD = 8.1 cents) in the just-intonation condition were found. Thus, we assume that the musicians employed the same intonation for equaltemperament and just-intonation versions (an unconscious "always the same" strategy) and could not successfully adapt their performances to the just-intonation tuning system. Fewer deviations could be observed in the equal-temperament condition. This overall tendency can be interpreted as a "burn in" effect and is probably the consequence of longterm intonation practice with equal-temperament. Finally, a theoretical model of intonation is developed by use of factor analysis. Four factors that determine intonation patterns were revealed: the "major third factor," the "minor third and partials factor," the "instrumental tuning factor," and the "octave-minor seventh factor." To summarize, even in expert musicians, intonation is not determined by abstract tuning systems but is the result of an interaction among compositional features, the acoustics of the particular musical instrument, and deviation patterns in specific intervals.

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Section: Methodsmentioning

confidence: 96%

Intonation of Harmonic Intervals: Adaptability of Expert Musicians to Equal Temperament and Just Intonation

Kopiez¹

2003

Music Perception

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“…Indeed, in European history pitch has fluctuated widely according to time and place, to the point where “it is rarely possible to generalize about pitch standards. Even when the exact period and location are known, different kinds of music often had their own standards [of pitch]” (Haynes and Cooke ). In the modern era, pitch has become easily standardized via technologies that can reliably produce and measure pitch.…”

Section: Modelling Moralitymentioning

confidence: 99%

“…In the modern era, pitch has become easily standardized via technologies that can reliably produce and measure pitch. Nevertheless, the modern consensus on pitch expressed as a' = 440 Hz was established only in 1939 and can be considered “no less artificial and unrealistic” than the differing pitch standards that preceded it or continue to coexist with it (Haynes and Cooke ). Consequently, pitch should not be thought of as a stable, universal, or unchanging essence, around which adjustments can be made.…”

Section: Modelling Moralitymentioning

confidence: 99%

Moral Tuning

2018

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Can a set of musical metaphors in a treatise on ethics reveal something about the nature and source of moral autonomy? This article argues that it can. It shows how metaphorical usage of words like tone, pitch, and concord in Adam Smith's Theory of Moral Sentiments can be understood as elements of an analogical model for morality. What this model tells us about morality depends on how we conceptualise music. In contrast to earlier interpretations of Smith's metaphors that have seen music as an aesthetic object, this article sees music as a practice. Understood in this way, the analogy allows us to see morality too as a practice––as moral tuning. This in turn reveals a novel answer to the intractable problem of conventionalism: moral autonomy consists in the freedom inherent in the constant need to interpret and reinterpret the strictly formal ideal of perfect propriety.

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“…It is only when they are related with the standardized tuning that they take over musical dimension. The tuning standard is a convention on uniform tuning, which is prescribed and which is generally used by musicians in a given point in time and at a given location (Haynes, 2009). when the vocal-instrumental music practice began.…”

mentioning

confidence: 99%

“…By the end of the 18 th century, church organs across Europe had tuning that differed from orchestral instruments. They were tuned like in the previous century, which made them too highly tuned in Germany, and too low in France and England (Sigalia and Campbell, 2009;Haynes, 2009). In the course of history, tuning moved upwards and downwards.…”

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confidence: 99%

Acoustics in Solfeggio - Effect and Outcomes in Educational Practice

Hodžić-Mulabegović¹

2018

musicinsociety

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In the tradition of Western European music, the musical process of tuning tones has undergone various stages. Although fixed and confirmed as such, the pitch oscillates due to natural inertia. The Herz – determined tuning of the reference tone is the most applied in both instrumental and vocal-instrumental music. In these cases we witness the strong relationship between acoustics and solfeggio in auditory and performing domain.

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Pitch

Cited by 10 publications

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Intonation of Harmonic Intervals: Adaptability of Expert Musicians to Equal Temperament and Just Intonation

Intonation of Harmonic Intervals: Adaptability of Expert Musicians to Equal Temperament and Just Intonation

Moral Tuning

Acoustics in Solfeggio - Effect and Outcomes in Educational Practice

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