22edo: Difference between revisions
Wikispaces>PiotrGrochowski **Imported revision 589203916 - Original comment: ** |
Wikispaces>PiotrGrochowski **Imported revision 590212574 - Original comment: ** |
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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:PiotrGrochowski|PiotrGrochowski]] and made on <tt>2016-08-11 | : This revision was by author [[User:PiotrGrochowski|PiotrGrochowski]] and made on <tt>2016-08-26 11:46:00 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>590212574</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></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> | ||
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=Theory= | =Theory= | ||
In music, //22 equal temperament//, called 22-tet, 22-edo, or 22-et, is the scale derived by dividing the [[octave]] into 22 equally large steps. Each step represents a frequency ratio of the twenty-second root of 2, or 54.55 [[cent]]s. | In music, //22 equal temperament//, called 22-tet, 22-edo, or 22-et, is the scale derived by dividing the [[octave]] into 22 equally large steps. Each step represents a frequency ratio of the twenty-second root of 2, or 54.55 [[cent]]s. Because it distinguishes 10/9 and 9/8, it's good for 5-limit. | ||
The idea of dividing the octave into 22 steps of equal size seems to have originated with nineteenth century music theorist RHM Bosanquet. Inspired by the division of the octave into 22 unequal parts in the [[Indian|music theory of India]], Bosenquet noted that such an equal division was capable of representing 5-limit music with tolerable accuracy. In this he was followed in the twentieth century by theorist José Würschmidt, who noted it as a possible next step after [[19edo|19 equal temperament]], and J. Murray Barbour in his classic survey of tuning history, ''Tuning and Temperament''. | The idea of dividing the octave into 22 steps of equal size seems to have originated with nineteenth century music theorist RHM Bosanquet. Inspired by the division of the octave into 22 unequal parts in the [[Indian|music theory of India]], Bosenquet noted that such an equal division was capable of representing 5-limit music with tolerable accuracy. In this he was followed in the twentieth century by theorist José Würschmidt, who noted it as a possible next step after [[19edo|19 equal temperament]], and J. Murray Barbour in his classic survey of tuning history, ''Tuning and Temperament''. | ||
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In music, <em>22 equal temperament</em>, called 22-tet, 22-edo, or 22-et, is the scale derived by dividing the <a class="wiki_link" href="/octave">octave</a> into 22 equally large steps. Each step represents a frequency ratio of the twenty-second root of 2, or 54.55 <a class="wiki_link" href="/cent">cent</a>s. | In music, <em>22 equal temperament</em>, called 22-tet, 22-edo, or 22-et, is the scale derived by dividing the <a class="wiki_link" href="/octave">octave</a> into 22 equally large steps. Each step represents a frequency ratio of the twenty-second root of 2, or 54.55 <a class="wiki_link" href="/cent">cent</a>s. Because it distinguishes 10/9 and 9/8, it's good for 5-limit.<br /> | ||
<br /> | <br /> | ||
The idea of dividing the octave into 22 steps of equal size seems to have originated with nineteenth century music theorist RHM Bosanquet. Inspired by the division of the octave into 22 unequal parts in the <a class="wiki_link" href="/Indian">music theory of India</a>, Bosenquet noted that such an equal division was capable of representing 5-limit music with tolerable accuracy. In this he was followed in the twentieth century by theorist José Würschmidt, who noted it as a possible next step after <a class="wiki_link" href="/19edo">19 equal temperament</a>, and J. Murray Barbour in his classic survey of tuning history, ''Tuning and Temperament''.<br /> | The idea of dividing the octave into 22 steps of equal size seems to have originated with nineteenth century music theorist RHM Bosanquet. Inspired by the division of the octave into 22 unequal parts in the <a class="wiki_link" href="/Indian">music theory of India</a>, Bosenquet noted that such an equal division was capable of representing 5-limit music with tolerable accuracy. In this he was followed in the twentieth century by theorist José Würschmidt, who noted it as a possible next step after <a class="wiki_link" href="/19edo">19 equal temperament</a>, and J. Murray Barbour in his classic survey of tuning history, ''Tuning and Temperament''.<br /> | ||