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Microtonal Composers
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 Spanish or French ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ives Fundamental Chord (quarter Tones)
Ives is both a surname and a given name. Notable people with the name include: Surname * Alice Emma Ives (1876–1930), American dramatist, journalist * Burl Ives (1909–1995), American singer, author and actor * Charles Ives (1874–1954), American composer * Charles Ives (footballer) (1907–1942), football player from New Zealand * Chauncey Ives (1810–1894), American sculptor in Italy * Clarrie Ives (1890–1956), Australian rugby league footballer * Clay Ives (born 1972), Canadian-born American luger * David Ives (born 1950), contemporary American playwright * Dick Ives (1926–1997), American basketball player * Edward D. Ives (1925–2009), American folklorist * Edward Ives (toymaker) (1839–1918), U.S. toymaker * Edward Ives (rower) (born 1961), American Olympic oarsman * Edward H. Ives (1819–1892), Wisconsin politician * Eric Ives (1931–2012), English historian * Eugene S. Ives (1859–1917), New York and Arizona politician * F. Badger Ives (1858–1914), Wisconsin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Die Reihe
''Die Reihe'' () was a German-language music academic journal, edited by Herbert Eimert and Karlheinz Stockhausen and published by Universal Edition (Vienna) between 1955 and 1962 (). An English edition was published, under the original German title, between 1957 and 1968 by the Theodore Presser Company ( Bryn Mawr) in association with Universal Edition (London) (). A related book series titled "Bücher der Reihe" was begun, but only one title ever appeared in it, Herbert Eimert's ''Grundlagen der musikalischen Reihentechnik''. Origin The journal, whose title means "The Row" or "The Series", owes its genesis to the founding of the Studio for Electronic Music of the Nordwestdeutscher Rundfunk (NWDR) in Cologne (later WDR) under the influence of Werner Meyer-Eppler, and the realisation that technology was becoming an important element in the work of younger composers. The contributions from composers working in the studio were frequently based on their projects there, and in th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ancient Greece
Ancient Greece () was a northeastern Mediterranean civilization, existing from the Greek Dark Ages of the 12th–9th centuries BC to the end of classical antiquity (), that comprised a loose collection of culturally and linguistically related city-states and communities. Prior to the Roman period, most of these regions were officially unified only once under the Kingdom of Macedon from 338 to 323 BC. In Western history, the era of classical antiquity was immediately followed by the Early Middle Ages and the Byzantine period. Three centuries after the decline of Mycenaean Greece during the Bronze Age collapse, Greek urban poleis began to form in the 8th century BC, ushering in the Archaic period and the colonization of the Mediterranean Basin. This was followed by the age of Classical Greece, from the Greco-Persian Wars to the death of Alexander the Great in 323 BC, and which included the Golden Age of Athens and the Peloponnesian War. The u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Enharmonic
In music, two written notes have enharmonic equivalence if they produce the same pitch but are notated differently. Similarly, written intervals, chords, or key signatures are considered enharmonic if they represent identical pitches that are notated differently. The term derives from Latin , in turn from Late Latin , from Ancient Greek (), from ('in') and ('harmony'). Definition The predominant tuning system in Western music is twelve-tone equal temperament (12 ), where each octave is divided into twelve equivalent half steps or semitones. The notes F and G are a whole step apart, so the note one semitone above F (F) and the note one semitone below G (G) indicate the same pitch. These written notes are ''enharmonic'', or ''enharmonically equivalent''. The choice of notation for a pitch can depend on its role in harmony; this notation keeps modern music compatible with earlier tuning systems, such as meantone temperaments. The choice can also depend on the note's re ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mark Lindley
Mark Lindley (born 11 February 1937) is a musicologist, 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 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 University of Zaragoza and in 2017 at the Central Unive ... [...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 '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diaschisma
The diaschisma (or diacisma) is a small interval (music), musical interval defined as the difference between three octaves and four perfect fifths plus two just major third, major thirds (in just intonation). It can be represented by the ratio 2048:2025 and is about 19.5 cent (music), cents. The use of the name diaschisma for this interval is due to Hermann Helmholtz, Helmholtz; earlier Jean-Philippe Rameau, 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 Anicius Manlius Severinus Boethius, 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 a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Schisma
In music, the schisma (also spelled ''skhisma'') is the interval between the syntonic comma (81:80) and the Pythagorean comma which is slightly larger. It equals or ≈ 1.00113, which corresponds to 1.9537 cents (). It may also be defined as: * the difference (in cents) between 8 justly tuned perfect fifths plus a justly tuned major third and 5 octaves; * the ratio of major limma to the Pythagorean limma; * the ratio of the syntonic comma and the diaschisma. ''Schisma'' is a Greek word meaning a split or crack (see schism) whose musical sense was introduced by Boethius at the beginning of the 6th century in the 3rd book of his ''De institutione musica''. Boethius was also the first to define the diaschisma. Andreas Werckmeister defined the ''grad'' as the twelfth root of the Pythagorean comma, or equivalently the difference between the justly tuned fifth (3:2) and the equally tempered fifth of 700 cents (2). This value, 1.955 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Comma (music)
In music theory, a comma is a very small interval (music), interval, the difference resulting from Musical tuning, tuning one note (music), note two different ways. Traditionally, there are two most common commata; the syntonic comma (80:81), "the difference between a just intonation, just major 3rd and four just perfect 5ths less two octaves", and the Pythagorean comma (524288:531441, approximately 73:74), "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. Pitches separated by either comma are considered the same note because conventional notation does not distinguish Pythagorean intervals from 5-limit intervals. Other intervals are considered commas because of the enharmonic equivalences of a tuning system. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The New Grove Dictionary Of Music And Musicians
''The New Grove Dictionary of Music and Musicians'' is an encyclopedic dictionary of music and musicians. Along with the German-language '' Die Musik in Geschichte und Gegenwart'', it is one of the largest reference works on the history and theory of music. Earlier editions were published under the titles ''A Dictionary of Music and Musicians'', and ''Grove's Dictionary of Music and Musicians''; the work has gone through several editions since the 19th century and is widely used. In recent years it has been made available as an electronic resource called ''Grove Music Online'', which is now an important part of ''Oxford Music Online''. ''A Dictionary of Music and Musicians'' ''A Dictionary of Music and Musicians'' was first published in London by Macmillan and Co. in four volumes (1879, 1880, 1883, 1889) edited by George Grove with an Appendix edited by J. A. Fuller Maitland in the fourth volume. An Index edited by Mrs. E. Wodehouse was issued as a separate volume in 189 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diesis
In classical music from Western culture, a diesis ( or enharmonic diesis, plural dieses ( , or "difference"; Greek: "leak" or "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, to B). The difference between C-C′ (2:1) and C-B (125:64) is the diesis (128:125). Notice that this coincides with the interval between B and C′, also called a diminished second. As a comma, the above-mentioned 128:125 r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aristoxenus
Aristoxenus of Tarentum (; born 375, fl. 335 BC) was a Ancient Greece, Greek Peripatetic school, Peripatetic philosopher, and a pupil of Aristotle. Most of his writings, which dealt with philosophy, ethics and music, have been lost, but one musical treatise, ''Elements of Harmony'' (Greek: ; Latin: ''Elementa harmonica''), survives incomplete, as well as some fragments concerning rhythm and Metre (music), meter. The ''Elements'' is the chief source of our knowledge of Music of ancient Greece, ancient Greek music. Life Aristoxenus was born at Taranto, Tarentum (in modern-day Apulia, southern Italy) in Magna Graecia, and was the son of a learned musician named Spintharus (otherwise Mnesias). He learned music from his father, and having then been instructed by Lamprus of Erythrae and Xenophilus (philosopher), Xenophilus the Pythagorean, he finally became a pupil of Aristotle, whom he appears to have rivaled in the variety of his studies. According to the ''Suda'', he heaped insults ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
