Pythagoras of Samos: Difference between revisions

Line 3:

To this day we use terms like:

* [[~~Pythagoran~~ tuning]]

* [[Pythagorean tuning]]

* The [[Pythagorean family]] of temperaments

* [[Pythagorean means]]

* The [[Pythagorean limma]] or [[Pythagorean diatonic semitone]]

* The [[Pythagorean chromatic semitone]]

* The [[Pythagorean comma]]

* The [[Pythagorean kleisma]]

* The [[Pythagorean countercomma]]

* The [[Pythagorean limma]]

* The [[Pythagorean kleisma]]

* The [[Pythagorean diatonic semitone]]

* The [[Pythagorean chromatic semitone]]

* The [[Pythagorean augmented second]]

* The [[Pythagorean augmented fifth]]

* The [[Pythagorean diminished fourth]]

* The [[Pythagorean dominant seventh chord]]

* The [[Schismic-Pythagorean equivalence continuum]]

In tuning theory, ~~“Pythagorean”~~ has come to be almost synonymous with a [[3-limit]], pure [[just intonation]] approach to tuning. However, because ~~“Pythagorean”~~ and ~~“Pythagoras’”~~ have been applied to so many different concepts over the centuries, a lot of these terms are a little bit ill-defined, with potential for confusion around what exactly someone means when they say ~~“Pythagorean tuning”~~ or something of the sort. For this reason, gradually, some Pythagoras-centric music theory terms have fallen out of favour and been replaced with different terms like “3-limit”, “[[compton]]”, or various other things depending on the specific context.

In tuning theory, "Pythagorean" has come to be almost synonymous with a [[3-limit]], pure [[just intonation]] approach to tuning. However, because "Pythagorean" and "Pythagoras'" have been applied to so many different concepts over the centuries, a lot of these terms are a little bit ill-defined, with potential for confusion around what exactly someone means when they say "Pythagorean tuning" or something of the sort.

[[Category:People]][[Category:Mathematicians]][[Category:Theorists]]

[[Category:People]]

[[Category:Mathematicians]]

[[Category:Theorists]]

@@ Line 3: / Line 3: @@
 To this day we use terms like:
-* [[Pythagoran tuning]]
+* [[Pythagorean tuning]]
-* The [[Pythagorean family]] of temperaments
 * [[Pythagorean means]]
+* The [[Pythagorean limma]] or [[Pythagorean diatonic semitone]]
+* The [[Pythagorean chromatic semitone]]
 * The [[Pythagorean comma]]
+* The [[Pythagorean kleisma]]
 * The [[Pythagorean countercomma]]
-* The [[Pythagorean limma]]
-* The [[Pythagorean kleisma]]
-* The [[Pythagorean diatonic semitone]]
-* The [[Pythagorean chromatic semitone]]
-* The [[Pythagorean augmented second]]
-* The [[Pythagorean augmented fifth]]
-* The [[Pythagorean diminished fourth]]
 * The [[Pythagorean dominant seventh chord]]
 * The [[Schismic-Pythagorean equivalence continuum]]
-In tuning theory, “Pythagorean” has come to be almost synonymous with a [[3-limit]], pure [[just intonation]] approach to tuning. However, because “Pythagorean” and “Pythagoras’” have been applied to so many different concepts over the centuries, a lot of these terms are a little bit ill-defined, with potential for confusion around what exactly someone means when they say “Pythagorean tuning” or something of the sort. For this reason, gradually, some Pythagoras-centric music theory terms have fallen out of favour and been replaced with different terms like “3-limit”, “[[compton]]”, or various other things depending on the specific context.
+In tuning theory, "Pythagorean" has come to be almost synonymous with a [[3-limit]], pure [[just intonation]] approach to tuning. However, because "Pythagorean" and "Pythagoras'" have been applied to so many different concepts over the centuries, a lot of these terms are a little bit ill-defined, with potential for confusion around what exactly someone means when they say "Pythagorean tuning" or something of the sort.
-[[Category:People]][[Category:Mathematicians]][[Category:Theorists]]
+[[Category:People]]
+[[Category:Mathematicians]]
+[[Category:Theorists]]
 {{DEFAULTSORT:Pythagoras}}