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Practical Aspects of Marchetto's Tuning
semitone monochord geometry perception beats counterpoint chant pedagogy scale
2010/3/29
In his historically momentous account of tuning, Marchetto of Padua (fl. 1305-19) proposed dividing the whole tone of received theory (9/8=204 cents) into 5 parts. This report develops determinate ari...
A Comparative Evaluation of Pitch Notations in Turkish Makam Music:Abjad Scale & 24-Tone Pythagorean Tuning – 53 Equal Division of the
Abjad scale Pythagorean tuning Arel-Ezgi-Uzdilek System 53 equal divisions of the octave Octave as a Common Grid
2008/10/30
In the Middle East, Abjad notation
has been available since the day of Al-Kindi
(9th century). However, Abjad was never used
except as a theoretical tool. A handful of extant
musical examples show...
Syntonic Tuning: Creating a Model for Accurate Electronic Playback
Cents Costeley equal temperament Finale interval ratio pitchbend pitchwheel Pythagorean Syntonic comma
2010/3/29
This essay is explicitly "educational" in the proper sense: although it has a technical focus this is intended to provide the means of re-examining and reassessing one's own cognitive processes. It ha...
Syntonic Tuning: A Sixteenth-Century Composer's Soundscape
Aristoxenus comma Ganassi Jachet Josquin Ptolemy Rore tetrachord Vesper-Psalms Willaert Zarlino
2010/3/29
This Essay makes at the outset an important (if somewhat controversial) assumption. This is that Syntonic tuning (Just Intonation) is not--though often presumed to be so--primarily what might be terme...
Quid non ebrietas dissignat? Willaert's didactic demonstration of Syntonic tuning
Aron Artusi coniuncta disiuncta double ficta ficta Horace Just Intonation polydiatonicism Ptolemy
2010/3/29
"Quid non ebrietas dissignat? Operta recludit,
Spes iubet esse ratas, ad proelia trudit inertem,
Sollicitis animis onus eximit, addocet artes,
Fecundi calices quem non fecere disertum?"
(Horac...