About: Quarter-comma meantone

An Entity of Type: Nature104623113, from Named Graph: http://dbpedia.org, within Data Space: dbpedia.org

Quarter-comma meantone, or 1⁄4-comma meantone, was the most common meantone temperament in the sixteenth and seventeenth centuries, and was sometimes used later. In this system the perfect fifth is flattened by one quarter of a syntonic comma (81:80), with respect to its just intonation used in Pythagorean tuning (frequency ratio 3:2); the result is 3/2 × (80/81)1⁄4 = 4√5 ≈ 1.49535, or a fifth of 696.578 cents. (The 12th power of that value is 125, whereas 7 octaves is 128, and so falls 41.059 cents short.) This fifth is then iterated to generate the diatonic scale and other notes of the temperament. The purpose is to obtain justly intoned major thirds (with a frequency ratio equal to 5:4). It was described by Pietro Aron in his Toscanello de la Musica of 1523, by saying the major thirds s

thumbnail
Property Value
dbo:abstract
  • Quarter-comma meantone, or 1⁄4-comma meantone, was the most common meantone temperament in the sixteenth and seventeenth centuries, and was sometimes used later. In this system the perfect fifth is flattened by one quarter of a syntonic comma (81:80), with respect to its just intonation used in Pythagorean tuning (frequency ratio 3:2); the result is 3/2 × (80/81)1⁄4 = 4√5 ≈ 1.49535, or a fifth of 696.578 cents. (The 12th power of that value is 125, whereas 7 octaves is 128, and so falls 41.059 cents short.) This fifth is then iterated to generate the diatonic scale and other notes of the temperament. The purpose is to obtain justly intoned major thirds (with a frequency ratio equal to 5:4). It was described by Pietro Aron in his Toscanello de la Musica of 1523, by saying the major thirds should be tuned to be "sonorous and just, as united as possible." Later theorists Gioseffo Zarlino and Francisco de Salinas described the tuning with mathematical exactitude. (en)
  • 四分之一音差中全律或稱四分之一音差中庸全音律，是中庸全音律的一种，应用于巴洛克时代前后。 为了确保大三度的和谐，把纯五度音程略微缩小，并且把大全音（8/9）和小全音（9/10）折中了。 (zh)
dbo:soundRecording
dbo:thumbnail
dbo:wikiPageID
  • 3199677 (xsd:integer)
dbo:wikiPageLength
  • 36689 (xsd:nonNegativeInteger)
dbo:wikiPageRevisionID
  • 1119657724 (xsd:integer)
dbo:wikiPageWikiLink
dbp:filename
  • Just major third on C.mid (en)
  • Just perfect fifth on C.mid (en)
  • Quarter-comma meantone perfect fifth on C.mid (en)
  • Syntonic comma on C.mid (en)
dbp:title
  • Just major third on C (en)
  • Just perfect fifth on C (en)
  • Quarter-comma meantone perfect fifth on C (en)
  • Syntonic comma on C (en)
dbp:wikiPageUsesTemplate
dcterms:subject
rdf:type
rdfs:comment
  • 四分之一音差中全律或稱四分之一音差中庸全音律，是中庸全音律的一种，应用于巴洛克时代前后。 为了确保大三度的和谐，把纯五度音程略微缩小，并且把大全音（8/9）和小全音（9/10）折中了。 (zh)
  • Quarter-comma meantone, or 1⁄4-comma meantone, was the most common meantone temperament in the sixteenth and seventeenth centuries, and was sometimes used later. In this system the perfect fifth is flattened by one quarter of a syntonic comma (81:80), with respect to its just intonation used in Pythagorean tuning (frequency ratio 3:2); the result is 3/2 × (80/81)1⁄4 = 4√5 ≈ 1.49535, or a fifth of 696.578 cents. (The 12th power of that value is 125, whereas 7 octaves is 128, and so falls 41.059 cents short.) This fifth is then iterated to generate the diatonic scale and other notes of the temperament. The purpose is to obtain justly intoned major thirds (with a frequency ratio equal to 5:4). It was described by Pietro Aron in his Toscanello de la Musica of 1523, by saying the major thirds s (en)
rdfs:label
  • Quarter-comma meantone (en)
  • 四分之一音差中全律 (zh)
owl:sameAs
prov:wasDerivedFrom
foaf:depiction
foaf:isPrimaryTopicOf
is dbo:wikiPageRedirects of
is dbo:wikiPageWikiLink of
is foaf:primaryTopic of
Powered by OpenLink Virtuoso    This material is Open Knowledge     W3C Semantic Web Technology     This material is Open Knowledge    Valid XHTML + RDFa
This content was extracted from Wikipedia and is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License