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Diaschisma On C
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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diaschisma On C
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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anicius Manlius Severinus Boethius
Anicius Manlius Severinus Boethius, commonly known as Boethius (; Latin: ''Boetius''; 480 – 524 AD), was a Roman senator, consul, ''magister officiorum'', historian, and philosopher of the Early Middle Ages. He was a central figure in the translation of the Greek classics into Latin, a precursor to the Scholastic movement, and, along with Cassiodorus, one of the two leading Christian scholars of the 6th century. The local cult of Boethius in the Diocese of Pavia was sanctioned by the Sacred Congregation of Rites in 1883, confirming the diocese's custom of honouring him on the 23 October. Boethius was born in Rome a few years after the collapse of the Western Roman Empire. A member of the Anicii family, he was orphaned following the family's sudden decline and was raised by Quintus Aurelius Memmius Symmachus, a later consul. After mastering both Latin and Greek in his youth, Boethius rose to prominence as a statesman during the Ostrogothic Kingdom: becoming a senator by age ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Comma (music)
In music theory, a comma is a very small interval, the difference resulting from tuning one note two different ways. Strictly speaking, there are only two kinds of comma, the syntonic comma, "the difference between a just major 3rd and four just perfect 5ths less two octaves", and the Pythagorean comma, "the difference between twelve 5ths and seven octaves". The word ''comma'' used without qualification refers to the syntonic comma, which can be defined, for instance, as the difference between an F tuned using the D-based Pythagorean tuning system, and another F tuned using the D-based quarter-comma meantone tuning system. Intervals separated by the ratio 81:80 are considered the same note because the 12-note Western chromatic scale does not distinguish Pythagorean intervals from 5-limit intervals in its notation. Other intervals are considered commas because of the enharmonic equivalences of a tuning system. For example, in 53TET, B and A are both approximated by the same inte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
46 Equal Temperament
An equal temperament is a musical temperament or tuning system, which approximates just intervals by dividing an octave (or other interval) into equal steps. This means the ratio of the frequencies of any adjacent pair of notes is the same, which gives an equal perceived step size as pitch is perceived roughly as the logarithm of frequency. In classical music and Western music in general, the most common tuning system since the 18th century has been twelve-tone equal temperament (also known as 12 equal temperament, 12-TET or 12-ET; informally abbreviated to twelve equal), which divides the octave into 12 parts, all of which are equal on a logarithmic scale, with a ratio equal to the 12th root of 2 ( ≈ 1.05946). That resulting smallest interval, the width of an octave, is called a semitone or half step. In Western countries the term ''equal temperament'', without qualification, generally means 12-TET. In modern times, 12-TET is usually tuned relative to a standard pitch ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
