Pythagorean intonation

Lindley, Mark

doi:10.1093/gmo/9781561592630.article.22604

Cited by 2 publications

(3 citation statements)

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“…This tallies with statistical surveys, referenced in Parncutt (2011), which indicate these two modes were the most prevalent. The relative fits of D and G are even higher when the hexachord has a Pythagorean tuning in which all its fifths have the frequency ratio 3/2-such tunings were prevalent prior to the fifteenth century (Lindley, 2013).…”

Section: Fit Profiles For 12-tet Scalesmentioning

confidence: 99%

A Spectral Pitch Class Model of the Probe Tone Data and Scalic Tonality

Milne

Laney²,

Sharp

2015

Music Perception

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IN THIS PAPER, WE INTRODUCE A SMALL FAMILY OFnovel bottom-up (sensory) models of the Krumhansl and Kessler (1982) probe tone data. The models are based on the spectral pitch class similarities between all twelve pitch classes and the tonic degree and tonic triad. Cross-validation tests of a wide selection of models show ours to have amongst the highest fits to the data. We then extend one of our models to predict the tonics of a variety of different scales such as the harmonic minor, melodic minor, and harmonic major. The model produces sensible predictions for these scales. Furthermore, we also predict the tonics of a small selection of microtonal scales-scales that do not form part of any musical culture. These latter predictions may be tested when suitable empirical data have been collected.

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Section: Fit Profiles For 12-tet Scalesmentioning

confidence: 99%

A Spectral Pitch Class Model of the Probe Tone Data and Scalic Tonality

Milne

Laney²,

Sharp

2015

Music Perception

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“…The term microtonality often refers to any non-standard tuning or octave division whether or not it incorporates intervals smaller than the semitone. 1 Electronic music plays a prominent role in these explorations of new grounds.…”

Section: Introductionmentioning

confidence: 99%

“…Mapping of the natural dyads by M transformation Several serial operations helped create the pitch organization of the ensemble material. I constructed eight different twelve-tone rows (Figure 5.1) from subsets of the Dorian scale, including the tetrachords (0235) and (0135) and the hexachord (023579).Those rows were manipulated by the multiplication system, as was used by Pierre Boulez in Le marteau sans maitre (1953-57),1 to form forty domains of unordered sets.Furthermore, I applied M5, M7 and M11 transformations to the unordered domain sets for the purpose of connecting them with the segments. For example, the unordered set {8t0235} is a domain set in the first domain of the row B1.…”

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confidence: 99%

Normal mode for chamber ensemble and electronics

Neuman¹

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Normal Mode is a composition for chamber ensemble and electronics that makes reference to the microtonality employed in Turkish music. In this composition I have made an attempt to expand the timbral palette of standard Western instruments by the use of electronic sounds, which were constructed through digital sound synthesis. The microtonal frequencies, which were used in this synthesis process, were derived from the Turkish tonal system. The ensemble material, on the other hand, was conceived within a Western-influenced serial pitch organization. These two distinct influences invite a dynamic discourse between the ensemble and the electronics. As a new instrument, which was developed specifically for this composition, the electronics initially attract more attention. Over time a new equilibrium is established and the electronics part is integrated in the ensemble. The electronics part of Normal Mode was created in the object-oriented programming environment Max/MSP. It is realized in a performance of the composition with the same software. Five of the chapters of this thesis discuss the compositional process of the electronic part and the system of organization that guided this process. These chapters describe how this system was incorporated in the programming of Max/MSP patchers which generated the composition's sound library and perform the electronics part in real time. They also describe the relationships between the ensemble and the electronics. The sixth chapter presents the composition Normal Mode. The Max/MSP patchers that perform the electronics part are included in the supplement of this thesis.

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Pythagorean intonation

Cited by 2 publications

References 0 publications

A Spectral Pitch Class Model of the Probe Tone Data and Scalic Tonality

A Spectral Pitch Class Model of the Probe Tone Data and Scalic Tonality

Normal mode for chamber ensemble and electronics

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