4/3: Difference between revisions

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'''4/3''' is the [[frequency ratio]] of the '''just perfect fourth'''. Its inversion is the perfect fifth, [[3/2]]. In the [[Wikipedia: Medieval music #Early polyphony: organum|florid organum]] of Medieval music, 4/3 was reliably considered a consonance, and indeed was frequently emphasized. Once major thirds with a tuning approximating [[5/4]] began to be treated as consonances, however, the perception of 4/3 was altered to where it was at times considered a dissonance.

'''4/3''' is the [[frequency ratio]] of the '''just perfect fourth'''. Its inversion is the perfect fifth, [[3/2]]. In the [[Wikipedia: Medieval music #Early polyphony: organum|florid organum]] of Medieval music, 4/3 was reliably considered a consonance, and indeed was frequently emphasized. Once major thirds with a tuning approximating [[5/4]] began to be treated as consonances, however, the perception of 4/3 was altered to where it was at times considered a dissonance. However, as of late, the perfect fourth is once again being reevaluated as a consonance.

The 4/3 interval is easily heavily discussed outside of xenharmony. In fact, some of the usages discussed there have gone on to inspire other music theories in xenharmonic contexts, and indeed continue to inform certain ideas about [[tetrachord]]s.

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 {{Wikipedia|Perfect fourth}}
-'''4/3''' is the [[frequency ratio]] of the '''just perfect fourth'''. Its inversion is the perfect fifth, [[3/2]]. In the [[Wikipedia: Medieval music #Early polyphony: organum|florid organum]] of Medieval music, 4/3 was reliably considered a consonance, and indeed was frequently emphasized.  Once major thirds with a tuning approximating [[5/4]] began to be treated as consonances, however, the perception of 4/3 was altered to where it was at times considered a dissonance.
+'''4/3''' is the [[frequency ratio]] of the '''just perfect fourth'''. Its inversion is the perfect fifth, [[3/2]]. In the [[Wikipedia: Medieval music #Early polyphony: organum|florid organum]] of Medieval music, 4/3 was reliably considered a consonance, and indeed was frequently emphasized.  Once major thirds with a tuning approximating [[5/4]] began to be treated as consonances, however, the perception of 4/3 was altered to where it was at times considered a dissonance.  However, as of late, the perfect fourth is once again being reevaluated as a consonance.
 The 4/3 interval is easily heavily discussed outside of xenharmony. In fact, some of the usages discussed there have gone on to inspire other music theories in xenharmonic contexts, and indeed continue to inform certain ideas about [[tetrachord]]s.