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Septimal Minor Third
In music, the septimal minor third, also called the subminor third (e.g., by Ellis), is the musical interval exactly or approximately equal to a 7/6 ratio of frequencies. In terms of cents, it is 267 cents, a quartertone of size 36/35 flatter than a just minor third of 6/5. In 24-tone equal temperament five quarter tones approximate the septimal minor third at 250 cents (). A septimal minor third is almost exactly two-ninths of an octave, and thus all divisions of the octave into multiples of nine (72 equal temperament being the most notable) have an almost perfect match to this interval. The septimal major sixth, 12/7, is the inverse of this interval. The septimal minor third may be derived in the harmonic series from the seventh harmonic, and as such is in inharmonic ratios with all notes in the regular 12TET scale, with the exception of the fundamental and the octave. It has a darker but generally pleasing character when compared to the 6/5 third. A triad formed by using ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Septimal Major Sixth
In music, a subminor interval is an interval that is noticeably wider than a diminished interval but noticeably narrower than a minor interval. It is found in between a minor and diminished interval, thus making it below, or subminor to, the minor interval. A supermajor interval is a musical interval that is noticeably wider than a major interval but noticeably narrower than an augmented interval. It is found in between a major and augmented interval, thus making it above, or supermajor to, the major interval. The inversion of a supermajor interval is a subminor interval, and there are four major and four minor intervals, allowing for eight supermajor and subminor intervals, each with variants. Traditionally, "supermajor and superminor, rethe names given to certain thirds :7 and 17:14found in the justly intoned scale with a natural or subminor seventh."Brabner, John H. F. (1884). The National Encyclopaedia', vol. 13, p. 182. London. Subminor second and supermajor seventh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmonic Seventh
The harmonic seventh interval, also known as the septimal minor seventh, or subminor seventh, is one with an exact 7:4 ratio (about 969 cents). This is somewhat narrower than and is, "particularly sweet", "sweeter in quality" than an "ordinary" just minor seventh, which has an intonation ratio of 9:5 (about 1018 cents). The harmonic seventh arises from the harmonic series as the interval between the fourth harmonic (second octave of the fundamental) and the seventh harmonic; in that octave, harmonics 4, 5, 6, and 7 constitute a purely consonant major chord with added seventh (root position). When played on the natural horn, as a compromise the note is often adjusted to 16:9 of the root (for C maj7, the substituted note is B, 996.09 cents), but some pieces call for the pure harmonic seventh, including Britten's ''Serenade for Tenor, Horn and Strings''. Composer Ben Johnston uses a small "7" as an accidental to indicate a note is lowered 49 cents ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perspectives Of New Music
''Perspectives of New Music'' (PNM) is a peer-reviewed academic journal specializing in music theory and analysis. It was established in 1962 by Arthur Berger and Benjamin Boretz (who were its initial editors-in-chief). ''Perspectives'' was first published by the Princeton University Press, initially supported by the Fromm Music Foundation.David Carson Berry, "''Journal of Music Theory'' under Allen Forte's Editorship," ''Journal of Music Theory'' 50/1 (2006), 21, n49. The first issue was favorably reviewed in the ''Journal of Music Theory'', which observed that Berger and Boretz had produced "a first issue which sustains such a high quality of interest and cogency among its articles that one suspects the long delay preceding the yet-unborn Spring 1963 issue may reflect a scarcity of material up to their standard". However, as the journal's editorial "perspective" coalesced, Fromm became—in the words of David Gable—disenchanted with the "exclusive viewpoint hatcame to dominate" ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joel Mandelbaum
Mayer Joel Mandelbaum (born October 12, 1932) is an American music composer and teacher, best known for his use of microtonal tuning (notably just intonation and 19 equal temperament and the 31 equal temperament). He wrote the first Ph.D. dissertation on microtonality in 1961. He is married to stained glass artist Ellen Mandelbaum, and is the nephew of Abraham Edel. Career Born in New York City, Mandelbaum received his Ph.D. from Indiana University in music theory in 1961. He also studied at the Harvard and Brandeis universities, as well as the Berkshire Music Center and the Berlin Hochschule für Musik. His composition teachers included Boris Blacher, Luigi Dallapiccola, Irving Fine, Walter Piston, and Harold Shapero. His thesis was focused on the 19 equal temperament. He was a teacher and chairman of the music department at Queens College, City University of New York, from 1961 to 1999. Mandelbaum became interested in microtonality after listening to a lecture by Paul Hindemith ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lou Harrison
Lou Silver Harrison (May 14, 1917 – February 2, 2003) was an American composer, music critic, music theorist, painter, and creator of unique musical instruments. Harrison initially wrote in a dissonant, ultramodernist style similar to his former teacher and contemporary, Henry Cowell, but later moved toward incorporating elements of non-Western cultures into his work. Notable examples include a number of pieces written for Javanese style gamelan instruments, inspired after studying with noted gamelan musician Kanjeng Notoprojo in Indonesia. Harrison would create his own musical ensembles and instruments with his partner, William Colvig, who are now both considered founders of the American gamelan movement and world music; along with composers Harry Partch and Claude Vivier, and ethnomusicologist Colin McPhee. The majority of Harrison's works and custom instruments are written for just intonation rather than the more widespread equal temperament, making him one of the most p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Eaton (composer)
John Charles Eaton (March 30, 1935 – December 2, 2015) was an American composer. Born in Bryn Mawr, Pennsylvania, Eaton attended Princeton University, where he graduated in 1957. He later lived in Rome (1957–68), returning to Princeton to earn a PhD in 1970. He subsequently held faculty appointments at Indiana University (1970–92) and the University of Chicago (1989–99). Eaton was a prominent composer of microtonal music, and worked with Paul Ketoff and Robert Moog during the 1960s in developing several types of synthesizer. Notably, he was involved in the development, use, and ultimately unsuccessful commercialization of the SynKet. He devised a compositional genre called ''pocket opera'', operas scored for a small cast of vocalists and a chamber group, and composed such pocket opera works as ''Peer Gynt'', ''Let's Get This Show on the Road'', and ''The Curious Case of Benjamin Button''. His operas include '' The Cry of Clytaemnestra'' (1980), a re-telling of some ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Easley Blackwood Jr
Easley may refer to: Places in the United States * Easley, Alabama, in Blount County, Alabama * Easley, Iowa * Easley, Missouri, in Boone County, Missouri * Easley, South Carolina, in Pickens Counties Persons *Easley (name) Other uses *Easley McCain Recording Easley McCain Recording is an American recording studio, based in Memphis, Tennessee, notable for recording musicians such as Tav Falco's Panther Burns, Oblivians, Grifters, Pavement, Sonic Youth, Come, White Stripes, Townes Van Zandt, Pezz, Je ... * Justice Easley (other) {{Disambiguation, geo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Septimal Quarter Tone
A septimal quarter tone (in music) is an Interval (music), interval with the ratio of 36:35, which is the difference between the septimal minor third and the Just minor third, or about 48.77 Cent (music), cents wide. The name derives from the interval being the 7-limit approximation of a quarter tone. The septimal quarter tone can be viewed either as a musical interval in its own right, or as a septimal comma, comma; if it is tempered out in a given tuning system, the distinction between the two different types of minor thirds is lost. The septimal quarter tone may be derived from the Harmonic series (music), harmonic series as the interval between the thirty-fifth and thirty-sixth harmonics. Composer Ben Johnston (composer), Ben Johnston uses a small seven ("") as an accidental to indicate a note is lowered by 36/35 (≈49 cents), or an upside-down seven ("") to indicate a note is raised by the same amount."Ben Johnston's Extended Just Intonation – A Guide for Interpreters", J ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ben Johnston (composer)
Benjamin Burwell Johnston Jr. (March 15, 1926 – July 21, 2019) was an American contemporary music composer, known for his use of just intonation. He was called "one of the foremost composers of microtonal music" by Philip Bush and "one of the best non-famous composers this country has to offer" by John Rockwell. Biography Johnston was born in Macon, Georgia, and taught composition and theory at the University of Illinois at Urbana–Champaign from 1951 to 1986, before retiring to North Carolina. During his time teaching, he was in contact with avant-garde figures such as John Cage, La Monte Young, and Iannis Xenakis. Johnston's students have included Stuart Saunders Smith, Neely Bruce, Thomas Albert, Michael Pisaro, Manfred Stahnke, and Kyle Gann. He also considered his practice of just intonation to have influenced other composers, including James Tenney and Larry Polansky. In 1946 he married dance band singer Dorothy Haines, but they soon divorced. In 1950 he married artis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Septimal Major Third
In music, the septimal major third , also called the supermajor third (by Hermann von Helmholtz among others Hermann L. F. von Helmholtz (2007). ''Sensations of Tone'', p. 187. .) and sometimes '' Bohlen–Pierce third'' is the musical interval exactly or approximately equal to a just 9:7 ratioAndrew Horner, Lydia Ayres (2002). ''Cooking with Csound: Woodwind and Brass Recipes'', p. 131. . "Super-Major Second". of frequencies, or alternately 14:11. It is equal to 435 cents, sharper than a just major third (5:4) by the septimal quarter tone (36:35) (). In 24-TET the septimal major third is approximated by 9 quarter tones, or 450 cents (). Both 24 and 19 equal temperament map the septimal major third and the septimal narrow fourth (21:16) to the same interval. The septimal major third has a characteristic brassy sound which is much less sweet than a pure major third, but is classed as a 9-limit consonance. Together with the root 1:1 and the perfect fifth of 3:2, it makes up the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wolf Fifth
In music theory, the wolf fifth (sometimes also called Procrustean fifth, or imperfect fifth) Paul, Oscar (1885). A manual of harmony for use in music-schools and seminaries and for self-instruction', p.165. Theodore Baker, trans. G. Schirmer. is a particularly dissonant musical interval spanning seven semitones. Strictly, the term refers to an interval produced by a specific tuning system, widely used in the sixteenth and seventeenth centuries: the quarter-comma meantone temperament. More broadly, it is also used to refer to similar intervals (of close, but variable magnitudes) produced by other tuning systems, including Pythagorean and most meantone temperaments. When the twelve notes within the octave of a chromatic scale are tuned using the quarter-comma mean-tone systems of temperament, one of the twelve intervals spanning seven semitones (classified as a diminished sixth) turns out to be much wider than the others (classified as perfect fifths). In mean-tone systems, th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Quarter-comma Meantone
Quarter-comma meantone, or -comma meantone, was the most common meantone temperament in the sixteenth and seventeenth centuries, and was sometimes used later. In this system the perfect fifth is flattened by one quarter of a syntonic comma (81:80), with respect to its just intonation used in Pythagorean tuning (frequency ratio 3:2); the result is × () = ≈ 1.49535, or a fifth of 696.578 cents. (The 12th power of that value is 125, whereas 7 octaves is 128, and so falls 41.059 cents short.) This fifth is then iterated to generate the diatonic scale and other notes of the temperament. The purpose is to obtain justly intoned major thirds (with a frequency ratio equal to 5:4). It was described by Pietro Aron in his ''Toscanello de la Musica'' of 1523, by saying the major thirds should be tuned to be "sonorous and just, as united as possible." Later theorists Gioseffo Zarlino and Francisco de Salinas described the tuning with mathematical exactitude. Construction In a meantone t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
