19edo: Difference between revisions

Line 12:

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, which he defined as dividing the just major second into three approximately equal parts. Costeley had other compositions that made use of intervals, such as the diminished third, which have a meaningful context in 19edo, but not in other tuning systems contemporary with the work.

In 1577 music theorist Francisco de Salinas proposed [[1/3-comma meantone]], in which the fifth is 694.786 cents; the fifth of 19edo is 694.737, which is only a twentieth of a cent flatter. Salinas suggested tuning nineteen tones to the octave to this tuning, which comes within less than one cent of closing exactly, so that his suggestion is effectively 19edo.

In 1577 music theorist Francisco de Salinas proposed [[1/3-comma meantone|{{frac|3}}-comma meantone]], in which the fifth is 694.786 cents; the fifth of 19edo is 694.737, which is only a twentieth of a cent flatter. Salinas suggested tuning nineteen tones to the octave to this tuning, which comes within less than one cent of closing exactly, so that his suggestion is effectively 19edo.

In 1835, 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://www.tonalsoft.com/sonic-arts/monzo/woolhouse/essay.htm summary of Woolhouse's essay]).

@@ Line 12: / Line 12: @@
 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, which he defined as dividing the just major second into three approximately equal parts.  Costeley had other compositions that made use of intervals, such as the diminished third, which have a meaningful context in 19edo, but not in other tuning systems contemporary with the work.
-In 1577 music theorist Francisco de Salinas proposed [[1/3-comma meantone]], in which the fifth is 694.786 cents; the fifth of 19edo is 694.737, which is only a twentieth of a cent flatter. Salinas suggested tuning nineteen tones to the octave to this tuning, which comes within less than one cent of closing exactly, so that his suggestion is effectively 19edo.
+In 1577 music theorist Francisco de Salinas proposed [[1/3-comma meantone|{{frac|3}}-comma meantone]], in which the fifth is 694.786 cents; the fifth of 19edo is 694.737, which is only a twentieth of a cent flatter. Salinas suggested tuning nineteen tones to the octave to this tuning, which comes within less than one cent of closing exactly, so that his suggestion is effectively 19edo.
 In 1835, 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://www.tonalsoft.com/sonic-arts/monzo/woolhouse/essay.htm summary of Woolhouse's essay]).