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encyclopedia of microtonal music theory
Description
Tonalsoft Encyclopaedia of Tuning.
online hyperlinked dictionary
of terms commonly encountered in musical tuning theory.
microtonal dictionary, microtonal
dictionary,glossary, definitions, xenharmonic,
xenharmonik
,Monzo,Joe,
tuning terms,music theory,
Sonic Arts,
music-theory,
halmers,erlich,
schulter,
terminology
online hyperlinked dictionary
of terms commonly encountered in musical tuning theory.
microtonal dictionary, microtonal
dictionary,glossary, definitions, xenharmonic,
xenharmonik
,Monzo,Joe,
tuning terms,music theory,
Sonic Arts,
music-theory,
halmers,erlich,
schulter,
terminology
Category
Date
May 3, 2005
Contact name
Email
Link ID
8171
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Hans Straub's MaMuTh Page:
What is "MaMuTh"?
This word, invented by Guerino Mazzola, is a shortcut for "Mathematical Music Theory" and stands for any use of mathematical methods in music theory or music generally.
If you think it is rather a prehistoric shaggy elephant and should be spelled differently, you are partly right. To see a picture of the elephant, click here. (But about the spelling, I have to insist...)
About the author
From 1984 to 1989, I studied mathematics and computer science at the Swiss Federal Institute of Technology (ETH). During this time I came in contact with the amazing theories of Guerino Mazzola which fascinated me right away - one reason being the possibility to combine my profession with music, one of my great private passions. I then had the opportunity to write my thesis in this field. Nowadays it has been some years since I left the university and went into software development (the place I work is here); mathematics as well as music are now just hobbies - and not the least important effect of MaMuTh is now that it has inspired me to some of my recent musical compositions - On-To-Sû, So-Na-Ta and Asîmchômsaia are two examples presented on this site. Concerning theory, my writings serve merely as an introduction to the subject; for current academic research I recommend the links section.
What is "MaMuTh"?
This word, invented by Guerino Mazzola, is a shortcut for "Mathematical Music Theory" and stands for any use of mathematical methods in music theory or music generally.
If you think it is rather a prehistoric shaggy elephant and should be spelled differently, you are partly right. To see a picture of the elephant, click here. (But about the spelling, I have to insist...)
About the author
From 1984 to 1989, I studied mathematics and computer science at the Swiss Federal Institute of Technology (ETH). During this time I came in contact with the amazing theories of Guerino Mazzola which fascinated me right away - one reason being the possibility to combine my profession with music, one of my great private passions. I then had the opportunity to write my thesis in this field. Nowadays it has been some years since I left the university and went into software development (the place I work is here); mathematics as well as music are now just hobbies - and not the least important effect of MaMuTh is now that it has inspired me to some of my recent musical compositions - On-To-Sû, So-Na-Ta and Asîmchômsaia are two examples presented on this site. Concerning theory, my writings serve merely as an introduction to the subject; for current academic research I recommend the links section.
Category:
2. xenharmony
3. teoria
Web site dedicated to the study of Musical Theory. Articles, reference, interactive exercises, software. Teoría musical. Artículos, referencia, ejercicios y programas.
music theory, music software, Java, Jazz, music articles, intervals, scales, chords, teoria de la musica, musica, intervalos, escalas, acordes, ejercicios, articulos
music theory, music software, Java, Jazz, music articles, intervals, scales, chords, teoria de la musica, musica, intervalos, escalas, acordes, ejercicios, articulos
Category:
When you pluck a note on a guitar string, there isn't very much that can go wrong. You may not play the right note at the right time, of course, but a single note will always come out at the expected pitch, and sounding reasonably musical. When a beginner tries to play a violin, things are much more difficult. When a bow is drawn across a string, the result might be a musical note at the desired pitch, but on the other hand it might be an undesirable whistle, screech or graunch. This difference stems from a fundamental distinction between the physics of plucked and bowed strings ...
Linear versus nonlinear: plucked versus bowed
mathematics
math
maths
fractal
geometry
algebra
calculus
equation
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school
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Linear versus nonlinear: plucked versus bowed
mathematics
math
maths
fractal
geometry
algebra
calculus
equation
A-level
features
careers
puzzles
school
teaching
education
Category:
"Why I hate Vallotti (or is it Young?)", By Ross W. Duffin
Department of Music
Case Western Reserve University.
Abstract:
Modern performers of Baroque music are increasingly using historical temperaments. Among the dozens of temperament solutions proposed by theorists during the 17th and 18th centuries, related temperaments by Francesc' Antonio Vallotti and Thomas Young are among the most popular today, to the point where they arguably dominate the field.This article briefly reviews the technical basis for temperaments, then presents the historical and musical evidence for and against the temperaments of Vallotti and Young in performances of Baroque music. Graphics and sound illustrations allow comparison of the different temperaments both by constituent intervals and complete pieces.On both historical and musical grounds, the author pleads for a more critical approach to Baroque temperament choices, suggesting that 1/6 comma meantone might be a better temperament for most ensemble situations.
Department of Music
Case Western Reserve University.
Abstract:
Modern performers of Baroque music are increasingly using historical temperaments. Among the dozens of temperament solutions proposed by theorists during the 17th and 18th centuries, related temperaments by Francesc' Antonio Vallotti and Thomas Young are among the most popular today, to the point where they arguably dominate the field.This article briefly reviews the technical basis for temperaments, then presents the historical and musical evidence for and against the temperaments of Vallotti and Young in performances of Baroque music. Graphics and sound illustrations allow comparison of the different temperaments both by constituent intervals and complete pieces.On both historical and musical grounds, the author pleads for a more critical approach to Baroque temperament choices, suggesting that 1/6 comma meantone might be a better temperament for most ensemble situations.
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