User:Lhearne/Extra-Diatonic Intervals: Difference between revisions
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== Background == | == Background == | ||
=== The origin of diatonic interval names === | === The origin of diatonic interval names === | ||
[[File:Mesopotamian interval names table.jpg|thumb|500x500px|Mesopotamian interval names, from http://www.historyofmusictheory.com/?page_id=130, accessed October 7, 2018.]] | |||
Music theory describing the use of heptatonic-diatonic scales, including interval names, has been traced back as far as 2000BC, deciphered from a Sumerian cuneiform tablet from Nippur by Kilmer (1986). From Kummel (1970) we know that 'the names given to the seven tunings/scales were derived from the specific intervals on which the tuning procedure started' (Kilmer, 1986). This formed the basis of their musical notation ([http://www.jstor.org/stable/985853. Kilmer, 2016]). The table to the right following table displays the Ancient Mesopotamian interval names accompanied by their modern names. | Music theory describing the use of heptatonic-diatonic scales, including interval names, has been traced back as far as 2000BC, deciphered from a Sumerian cuneiform tablet from Nippur by Kilmer (1986). From Kummel (1970) we know that 'the names given to the seven tunings/scales were derived from the specific intervals on which the tuning procedure started' (Kilmer, 1986). This formed the basis of their musical notation ([http://www.jstor.org/stable/985853. Kilmer, 2016]). The table to the right following table displays the Ancient Mesopotamian interval names accompanied by their modern names. | ||
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=== English interval names in the Baroque === | === English interval names in the Baroque === | ||
[[File:Harmonics, or The Philosophy of Musical Sounds, Section 2 figure 3.png|thumb|''Harmonics, or The Philosophy of Musical Sounds'', Edition 2, Smith, 1759, Section 2: On the Names and Notation of consonance and their intervals, Fig. 2 & 3 , pg. 10]] | [[File:Harmonics, or The Philosophy of Musical Sounds, Section 2 figure 3.png|thumb|517x548px|''Harmonics, or The Philosophy of Musical Sounds'', Edition 2, Smith, 1759, Section 2: On the Names and Notation of consonance and their intervals, Fig. 2 & 3 , pg. 10|547.986x547.986px]] | ||
After English superseded Latin as the the main language of scholarship, the Latin interval names were rejected and the convention we saw in Zarlino's Italian for naming the smaller of a pair of sizes of an interval 'minor' and the larger 'major' was further applied. | After English superseded Latin as the the main language of scholarship, the Latin interval names were rejected and the convention we saw in Zarlino's Italian for naming the smaller of a pair of sizes of an interval 'minor' and the larger 'major' was further applied. | ||