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Journal Article
Journal of Music Theory (2013) 57 (2): 245–286.
Published: 01 October 2013
...). Furthermore, coincidence theories conclude that the fourth (with its simple ratio of frequencies 3:4) is more consonant or agreeable than the major sixth and the major third (with more complicated ratios 3:5 and 4:5, respectively) (Cohen 1984, 95–96, 103–9). Euler looked upon these discrepancies...
Journal Article
Journal of Music Theory (2009) 53 (2): 163–190.
Published: 01 October 2009
... Ellis was referring to Euler’s diatonic-chromatic genus, composed of the twelve pitches in the just intonation ratios given in Figure 7a (Ellis 1864a, 93; Euler 1739, 136). Euler derived the pitches of the genus from a very simple tuning method (1739, 147...
Journal Article
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
... distance relation pro- example, in converting 1, 2, 4, 12, 36 and 1, 3, 9, 18, 36, viding “finer distinctions” (2001, 301) than those offered by four 3:2 ratios are required: one each for 2 to 3 and 12 to 18 dissimilar-pulse distance relations (2001, 300: ex. 4c). While and two for 4 to 9...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 127–151.
Published: 01 October 2002
... 1. Claims of Isomorphism The idea that a single principle governs each and every musical para- meter goes back at least to the Pythagoreans, who believed that melody, harmony and rhythm were all ruled by ratio and proportion. Perhaps ever since, western musicians and music theorists have...
Journal Article
Journal of Music Theory (2008) 52 (1): 159–180.
Published: 01 April 2008
... concerns actual sounding music created by instruments or the human voice. Described in Neoplatonic terms as a manifestation of Pythagorean numerical ratios, musica instrumentalis is similar in conception to the other two species of musica and cannot...
Journal Article
Journal of Music Theory (2020) 64 (1): 105–121.
Published: 01 April 2020
... definition of consonance, and only once (obliquely and in passing) does she associate dissonance with complex ratios (155). This creates the lingering impression that consonance and dissonance can be reduced to matters of mathematical ratios, without much regard for the role of the culturally situated...
Journal Article
Journal of Music Theory (2013) 57 (2): 419–431.
Published: 01 October 2013
... as such concepts as “simple proportions” and “sufficiently elementary ratios.” The authors’ idea of grouping structure depends on temporal segmen- tation and, like “paradigmatic” analyses by Nicolas Ruwet (1972) and Jean- Jacques Nattiez (1975), involves...
Journal Article
Journal of Music Theory (2015) 59 (2): 321–332.
Published: 01 October 2015
... and Gesture , ed. Gritten Anthony King Elaine , 203 – 20 . Farnham : Ashgate . Friberg Anders Sundström Andreas . 2002 . “Swing Ratios and Ensemble Timing in Jazz Performance: Evidence for a Common Rhythmic Pattern.” Music Perception 19 / 3 : 333 – 49 . Frigyesi Judit...
Journal Article
Journal of Music Theory (2002) 46 (1-2): 1–56.
Published: 01 October 2002
... (A4), or by a frequency (440 cps), or by the logarithm of the frequency. An ordered interval is comprised of an ordered pair of pitches. The size of an interval is given either by the ratio between the respective frequen- cies, or the difference between log frequencies. A certain interval is often...
Journal Article
Journal of Music Theory (2009) 53 (1): 57–94.
Published: 01 April 2009
... Howat. Cambridge: Cambridge University Press. Friberg, Anders and Andreas Sundström. 2002 . “Swing Ratio and Ensemble Timing in Jazz Performance: Evidence for a Common Rhythmic Pattern.” Music Perception 19 : 333 -49. Frisch, Walter. 1990 . “The Shifting Bar Line: Metric Displacement...
Includes: Supplementary data
Journal Article
Journal of Music Theory (2002) 46 (1-2): 207–283.
Published: 01 October 2002
Journal Article
Journal of Music Theory (2007) 51 (2): 211–243.
Published: 01 October 2007
... from Cohn 2001, 304) pulse levels are isochronous (consisting of evenly spaced pulses) and in which each pulse level relates to the next by a ratio of 2 or 3,1 ensuring that each metric state is “fully consonant” as defined by Cohn (1992b, 8...
Journal Article
Journal of Music Theory (2004) 48 (2): 295–324.
Published: 01 October 2004
... in a stratified score. Cone approaches this topic in his discussion 305 of tempi within the Symphonies of Wind Instruments. Cone notes that if Π= 72 is taken as the common measure, the various tempi of this work relate to one another as simple ratios...
Journal Article
Journal of Music Theory (2000) 44 (1): 171–229.
Published: 01 April 2000
... notes or pairs of notes with preceding or following notes to form larger groups.16 The ratio of discontinuities within a particular Domain to the total number of events represents an approximation of the likelihood that a par- ticular Domain will yield segmentational groups of three to five notes...
Journal Article
Journal of Music Theory (2020) 64 (1): 37–61.
Published: 01 April 2020
Journal Article
Journal of Music Theory (1999) 43 (1): 165–190.
Published: 01 April 1999
... musics [of the seven cultures under study], they changed by low-order integral ratios.” Further, “if the newly arrived-at tempo was not exactly in proportion, the deviation in time from this exact ratio was in the majority of cases so small that it was below both the order threshold of perception (PT...
Journal Article
Journal of Music Theory (2005) 49 (1): 141–180.
Published: 01 April 2005
... third (5 5 ). The difference between them is 128 to 125, or what is called a quarter-tone (quart de ton). Strictly speaking, this name is somewhat misleading, because the ratio between them does not correspond to half a semitone (which...
Journal Article
Journal of Music Theory (2000) 44 (1): 100–126.
Published: 01 April 2000
... The simple ratio 2:3 may occur only as a contrast to the other more complex ratios; just as waves break upon the shore, fifths and nonfifths must sound in turn. Only par- allel octaves sound good, when considered in an absolute sense, because here we must assert an actual unison.30 Parallel fourths...
Journal Article
Journal of Music Theory (2006) 50 (2): 291–301.
Published: 01 October 2006
... as subsisting in proportion—not only on the familiar level of string-length ratios, but also on the level of a kind of rational commensurability, or mutual conditioning, between perceiver and perceived, Gehör (hearing) and Tönendes (sounding) (57–60)—Helmholtz...
Journal Article
Journal of Music Theory (2010) 54 (2): 283–310.
Published: 01 October 2010
....19 Remarkably, Lotze did not take the great problem of music’s historical narrative to be defining its specific ratio- nality or its “logical” development. Instead, the question he posed was, given the apparent inherently rational quality of Western musical theory, why did it take so long...