User:Nick Vuci/TonalityDiamond: Difference between revisions
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A '''tonality diamond''' is a symmetric organization of [[Otonality and utonality|otonal and utonal]] chords based around a central note and bounded by an [[Odd limit|odd-limit]]. First formalized in the [[7-odd-limit]] by [[wikipedia:Max_Friedrich_Meyer|Max F. Meyer]] in 1929, the idea became central to the music and theories of [[Harry Partch]], who built his tonal system around the [[11-odd-limit]] tonality diamond. Tonality diamonds have been used both conceptually (such as for [[Target tuning|targets]] of [[temperaments]]) and practically (such as for instrument layouts) in xenharmonics ever since. | A '''tonality diamond''' is a symmetric organization of [[Otonality and utonality|otonal and utonal]] chords based around a central note and bounded by an [[Odd limit|odd-limit]]. First formalized in the [[7-odd-limit]] by [[wikipedia:Max_Friedrich_Meyer|Max F. Meyer]] in 1929, the idea became central to the music and theories of [[Harry Partch]], who built his tonal system around the [[11-odd-limit]] tonality diamond. Tonality diamonds have been used both conceptually (such as for [[Target tuning|targets]] of [[temperaments]]) and practically (such as for instrument layouts) in xenharmonics ever since. | ||
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== History == | == History == | ||
The tonality diamond was first formally explained by Max F. Meyer in his 1929 publication ''The Musician's Arithmetic'' using the 7-odd-limit.<ref>https://archive.org/details/max-f-meyer-the-musicians-arithmetic/page/22/mode/2up</ref> | The tonality diamond was first formally explained by Max F. Meyer in his 1929 publication ''The Musician's Arithmetic'' using the 7-odd-limit.<ref>[https://archive.org/details/max-f-meyer-the-musicians-arithmetic/page/22/mode/2up Meyer, Max F. "The Musician’s Arithmetic: Drill Problems for an Introduction to the Scientific Study of Musical Composition". ''The University of Missouri Studies''. Vol. 4, no. 1. University of Missouri. January 1, 1929. p. 22.]</ref> | ||
Harry Partch is the person most associated with the tonality diamond, and explains that he gives a different story for how he discovered the concept, it is likely this source that gave him the idea, which he then extended to the 11-odd-limit and made the basis of his tonal system. | |||
[[Erv Wilson]] in particular was inspired by the tonality diamond and developed a number of "diamonds" himself.<ref>https://anaphoria.com/diamond. | [[Erv Wilson]] in particular was inspired by Partch's use of the tonality diamond and it's extended form. He developed a number of "diamonds" himself,<ref>[https://anaphoria.com/diamond.pdf Wilson, Erv. ''Letters on Diamond Lattices, 1965–1970'' (PDF). Self-published.]</ref> as well as other concepts based on Partch's extended tonality diamond such as "constant structure."<ref>[https://www.anaphoria.com/Partchpapers.pdf Wilson, Erv. ''The Partch Papers (collection of documents on Harry Partch’s 11-limit diamond and its extensions), 1964-2002'' (PDF). Self-published.] </ref> | ||
The first novel xenharmonic temperament — [[George Secor|George Secor's]] later-named "[[Miracle]]" temperament — was made to approximate Partch's 11-limit diamond. | The first novel xenharmonic temperament — [[George Secor|George Secor's]] later-named "[[Miracle]]" temperament — was made to approximate Partch's 11-limit diamond.<ref>[https://www.anaphoria.com/SecorMiracle.pdf Secor, George (1975). “A New Look at the Partch Monophonic Fabric.” ''Xenharmonicon''. Vol. 3]</ref><ref>[https://www.anaphoria.com/SecorMiracle.pdf Secor, George. "The Miracle Temperament and Decimal Keyboard". ''Xenharmonikon''. Vol. 18. 2006. pp. 5–15. © 2003.]</ref> | ||
== Uses == | == Uses == | ||