Intervals, Scales, Tones and the Concert Pitch C
Temple Lodge Publishing, 2015 - 198 страници
Why is it that certain intervals, scales and tones sound genuine and others false? Is the modern person able to experience a qualitative difference in a tone's pitch? If so, what are the implications for modern concert pitch and how instruments of fixed tuning are tuned? Maria Renold tackles these and many other questions, providing a wealth of scientific data. Her pioneering work is the result of a lifetime's research into Western music's Classical Greek origins, as well as a search for new developments in modern times. She strives to deepen musical understanding through Rudolf Steiner's spiritual-scientific research, and she also elucidates many of Steiner's often puzzling statements about music.
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absolute pitch Apollonian arithmetic mean ascending direction ascending fifth beat-free beatless cents chapter circle of fifths concert pitch connection degree diatonic difference tone dissonant double octave equal-tempered equal-tempered tuning eurythmist eurythmy fifth check flat form principles formed fifth fourths and fifths frequency fundamental gelis gelis1 geometric mean geometric mean tones harmonic mean human Hypodorian Hypolydian Indication instruments limma lower octave Lydian major scale major second major sixth major third Mars mese method of tuning minimally enlarged minor seventh Mixolydian modal monochord octachord open fourths overtone and undertone overtone row perfect fifth Phrygian piano played prime proportions Rudolf Steiner Saturn mode scale of twelve Schlesinger semitone sharp sound string string-length division Sun mode Table tetrachord tonic true F true intervals true major true tones true-tone row true-tone scales tuner tuning fork tuning the scale twelve fifths twofold interval row undertone row whole tone