19edo: Difference between revisions
Wikispaces>xenwolf **Imported revision 36226755 - Original comment: +1 external link** |
Wikispaces>xenwolf **Imported revision 36226907 - Original comment: link to equal table** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:xenwolf|xenwolf]] and made on <tt>2008-08-27 17: | : This revision was by author [[User:xenwolf|xenwolf]] and made on <tt>2008-08-27 17:42:38 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>36226907</tt>.<br> | ||
: The revision comment was: <tt> | : The revision comment was: <tt>link to equal table</tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
<h4>Original Wikitext content:</h4> | <h4>Original Wikitext content:</h4> | ||
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=Theory= | =Theory= | ||
In music, **19 equal temperament**, called 19-TET, 19-EDO, or 19-ET, is the scale derived by dividing the octave into 19 | In music, **19 equal temperament**, called 19-TET, 19-EDO, or 19-ET, is the scale derived by dividing the octave into 19 [[equal]]ly large steps. Each step represents a frequency ratio of the 19th root of 2, or 63.16 cents. | ||
Interest in this tuning system goes back to the sixteenth century, when composer Guillaume Costeley used it in his chanson //Seigneur Dieu ta pitié// of 1558. Costeley understood and desired the circulating aspect of this tuning; in 1577 music theorist Francisco de Salinas in effect proposed it. Salinas discussed 1/3-comma meantone, in which the fifth is of size 694.786 cents; the fifth of 19-et is 694.737, which is only a twentieth of a cent flatter. Salinas suggested tuning nineteen tones to the octave to this tuning, which fails to close by less than a cent, so that his suggestion is effectively 19-et. In the nineteenth century mathematician and music theorist Wesley Woolhouse proposed it as a more practical alternative to meantone tunings he regarded as better, such as [[50edo|50 equal temperament]] ([[http://sonic-arts.org/monzo/woolhouse/essay.htm|summary of Woolhouse's essay]]). | Interest in this tuning system goes back to the sixteenth century, when composer Guillaume Costeley used it in his chanson //Seigneur Dieu ta pitié// of 1558. Costeley understood and desired the circulating aspect of this tuning; in 1577 music theorist Francisco de Salinas in effect proposed it. Salinas discussed 1/3-comma meantone, in which the fifth is of size 694.786 cents; the fifth of 19-et is 694.737, which is only a twentieth of a cent flatter. Salinas suggested tuning nineteen tones to the octave to this tuning, which fails to close by less than a cent, so that his suggestion is effectively 19-et. In the nineteenth century mathematician and music theorist Wesley Woolhouse proposed it as a more practical alternative to meantone tunings he regarded as better, such as [[50edo|50 equal temperament]] ([[http://sonic-arts.org/monzo/woolhouse/essay.htm|summary of Woolhouse's essay]]). | ||
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<br /> | <br /> | ||
In music, <strong>19 equal temperament</strong>, called 19-TET, 19-EDO, or 19-ET, is the scale derived by dividing the octave into 19 | In music, <strong>19 equal temperament</strong>, called 19-TET, 19-EDO, or 19-ET, is the scale derived by dividing the octave into 19 <a class="wiki_link" href="/equal">equal</a>ly large steps. Each step represents a frequency ratio of the 19th root of 2, or 63.16 cents.<br /> | ||
<br /> | <br /> | ||
Interest in this tuning system goes back to the sixteenth century, when composer Guillaume Costeley used it in his chanson <em>Seigneur Dieu ta pitié</em> of 1558. Costeley understood and desired the circulating aspect of this tuning; in 1577 music theorist Francisco de Salinas in effect proposed it. Salinas discussed 1/3-comma meantone, in which the fifth is of size 694.786 cents; the fifth of 19-et is 694.737, which is only a twentieth of a cent flatter. Salinas suggested tuning nineteen tones to the octave to this tuning, which fails to close by less than a cent, so that his suggestion is effectively 19-et. In the nineteenth century mathematician and music theorist Wesley Woolhouse proposed it as a more practical alternative to meantone tunings he regarded as better, such as <a class="wiki_link" href="/50edo">50 equal temperament</a> (<a class="wiki_link_ext" href="http://sonic-arts.org/monzo/woolhouse/essay.htm" rel="nofollow">summary of Woolhouse's essay</a>).<br /> | Interest in this tuning system goes back to the sixteenth century, when composer Guillaume Costeley used it in his chanson <em>Seigneur Dieu ta pitié</em> of 1558. Costeley understood and desired the circulating aspect of this tuning; in 1577 music theorist Francisco de Salinas in effect proposed it. Salinas discussed 1/3-comma meantone, in which the fifth is of size 694.786 cents; the fifth of 19-et is 694.737, which is only a twentieth of a cent flatter. Salinas suggested tuning nineteen tones to the octave to this tuning, which fails to close by less than a cent, so that his suggestion is effectively 19-et. In the nineteenth century mathematician and music theorist Wesley Woolhouse proposed it as a more practical alternative to meantone tunings he regarded as better, such as <a class="wiki_link" href="/50edo">50 equal temperament</a> (<a class="wiki_link_ext" href="http://sonic-arts.org/monzo/woolhouse/essay.htm" rel="nofollow">summary of Woolhouse's essay</a>).<br /> | ||