scholarly journals The theory of the division of the octave, and the practic treatment of the musical systems thus obtained. Revise version of a paper entitled 'on just intonation in music with a description of a new instrument for the easy control systems of tuning other than the equal temperament of 1 divisions in the octave

1875 ◽  
Vol 23 (156-163) ◽  
pp. 390-408
Keyword(s):  
Control Systems ◽  
Royal Society ◽  
Just Intonation ◽  
New Instrument ◽  
Equal Temperament ◽  
Musical Systems ◽  
Revise Version

The mode of expressing Intervals . In the original paper presented by the writer to the Royal Society logarithms were employed as the measure of intervals, as they have been commonly employed by others. Great advantages have been found, however, to result from the adoption of the equal temperament (E. T.) mitone, which is 1/12 of an octave, as the unit of interval. It is the unit most familiar to musicians, and has been found to admit of the expression of the theory of cyclical systems by means of formulæ of the simplest character. The writer therefore devised the following rules for the transformation of ratios into E. T. semitones and vice versâ , and subsequently found that De Morgan had given rules for the same purpose which are substantially the same (Camb. Phil. Trans, vol. x. p. 129). The rules obviously depend on the form of log 2. The form of the first e affords a little more accuracy than De Morgan’s.

scholarly journals II. On just intonation in music; with a description of a new instrument for the easy control of all systems of tuning other than the ordinary equal temperament

1873 ◽  
Vol 21 (139-147) ◽  
pp. 131-132
Keyword(s):  
Theory And Practice ◽  
Just Intonation ◽  
New Instrument ◽  
Equal Temperament

The object of this communication is to place the improved systems of tuning within the reach of ordinary musicians; for this purpose the theory and practice are reduced to their simplest forms. A notation is described, adapted to use with ordinary written music by which the notes to be performed are clearly distinguished.

A Computer-Based Training Program for Developing Harmonic Intonation Discrimination Skill

1992 ◽  
Vol 40 (2) ◽  
pp. 139-152 ◽  
Author(s):  
Bruce F. Dalby
Keyword(s):  
Training Program ◽  
Matched Control ◽  
Control Group ◽  
Music Majors ◽  
Just Intonation ◽  
Computer Based Training ◽  
Equal Temperament ◽  
Computer Based ◽  
Experimental Subjects ◽  
Experimental Group

The purpose of this study was to determine the effectiveness of a computer-based training program for improving students' ability to make judgments of harmonic intonation. Twenty members of two undergraduate conducting classes participated in the Harmonic Intonation Training Program (HITP). An equivalent matched control group was selected from 156 other undergraduate music majors who had also taken the investigator-developed Harmonic Intonation Discrimination Test (HIDT). The HITP consisted of a body of drill-and-prac-tice exercises using intervals, triads, and brief three- and four-part musical passages. The exercises were played in both equal temperament and just intonation by a 16-voice digital synthesizer. After a 9-week treatment period, a two-way ANOVA on posttest HIDT scores revealed a difference (p= .005) in favor of the experimental group. Results of a questionnaire administered after the training to the experimental subjects indicated that attitudes toward the training program were mostly positive.

III. On the stereomonoscope, a new instrument by which an apparently single picture produces the stereoscopic illusion

1859 ◽  
Vol 9 ◽  
pp. 194-196
Keyword(s):  
Royal Society ◽  
Ground Glass ◽  
Camera Obscura ◽  
Oblique Direction ◽  
New Instrument ◽  
The Common

In a former paper “ On the Phenomenon of Relief of the Image formed on the ground glass of the Camera Obscura,” which I com­municated to the Royal Society on the 8th of May 1856, after having investigated the cause of that extraordinary fact and tried to explain it, I found that the images produced separately by the various points of the whole aperture of an object-glass are visible only when the refracted rays are falling on the ground glass in a line nearly coinciding with the optic axes ; so that when both eyes are equally distant from the centre of the ground glass, each eye perceives only the image refracted in an oblique direction on that surface from the opposite side of the object-glass. Consequently each side of an object-glass, in proportion to its aperture, giving a different perspec­tive of a solid placed before it, the result is an illusion of relief as conspicuous as when looking naturally at the objects themselves. From the consideration of these singular facts, unnoticed before, I was led to think that it would be possible to construct a new Stereoscope, in which looking with both eyes at once on a ground glass at the point of coalescence of the two images of a stereoscopic slide, each refracted by a separate lens, we could see it on that surface in the same relief which is produced by the common stereoscope.

Comma 32 805/32 768

1998 ◽  
Vol 06 (03) ◽  
pp. 295-305 ◽  
Author(s):  
Ján Haluška
Keyword(s):  
Just Intonation ◽  
Equal Temperament ◽  
The One

We find a fifth approximation of the Just Intonation which generalizes Equal Temperament. The intervals causing a dilemma are the second and the minor seventh and the tritone because they are unambiguous in Just Intonation (the relative frequencies 10/9, 9/8, 8/7 and 7/4, 16/9, 18/10 and 45/32, 64/45, respectively). If we do not consider the second and seventh with the relative frequencies 8/7 and 7/4, respectively, all the music intervals in this approximation either coincide with he Just Intonation interval values (the octave, fifth, fourth, second (9/8) and the minor seventh (16/9)) or are exactly the one comma distant from the corresponding Just Intonation intervals. This comma is 32 805/32 768 ≈ 1.00112915, which is less than the ratio of frequencies of the perfect and the equal tempered fifths (≈ 1.00112989).

scholarly journals IV. On the bending of the ribs in forced breathing

1874 ◽  
Vol 22 (148-155) ◽  
pp. 42-42
Keyword(s):  
Royal Society ◽  
Distinct Difference ◽  
Forced Expiration ◽  
Present Communication ◽  
Full Inspiration ◽  
New Instrument ◽  
Forced Breathing ◽  
Sternal Rib ◽  
Respiratory Movements

In a paper “On the Mechanical Conditions of the Respiratory Movements,” read before the Royal Society in November 1872, the author endeavoured to show that there is a distinct difference in the chord lengths of a sternal rib in the two positions of full inspiration and forced expiration, and that a certain degree of bending of the ribs usually takes place in forced breathing. The measurements on which these conclusions were based were made with a 3-plane stethometer, the performance of which was not sufficiently accurate to satisfy the author, who has accordingly repeated them by the aid of a new instrument, the construction and use of which are described at length in the present communication. The author considers that the new instrument gives fairly accurate results, which fully corroborate the conclusions previosly enunciated.

A Brief History of the Method of Fixing by Horizontal Angles

1972 ◽  
Vol 25 (4) ◽  
pp. 528-534
Author(s):  
Charles H. Cotter
Keyword(s):  
Royal Society ◽  
Vice President ◽  
East India Company ◽  
New Instrument ◽  
History Of ◽  
Celestial Bodies ◽  
First Time ◽  
Royal Society Of London

John Hadley (1670–1744), Vice-President of the Royal Society of London, communicated his ‘Description of a new Instrument for taking Angles’ to the Society on 13 May 1731. Hadley's invention for the first time provided the navigator with an instrument by which he could measure altitudes of celestial bodies with ease and accuracy on board a lively ship at sea. It was not however until about 1750, when the instrument was to be found on board vessels of the East India Company, that Hadley's quadrant (or octant as it is sometimes called) rapidly came into general use.

‘A Less Agreeable Matter’: The Disagreeable Case of Newton and Achromatic Refraction

1975 ◽  
Vol 8 (2) ◽  
pp. 101-126 ◽  
Author(s):  
Zev Bechler
Keyword(s):  
Seventeenth Century ◽  
Royal Society ◽  
Good Reason ◽  
Precise Form ◽  
New Instrument

There is no evidence to suggest that even as late as January 1672, when Newton was elected a Fellow of the Royal Society, anyone (except those unknown few who had in the previous years attended his Lucasian lectures at Cambridge) had any inkling of his new theory of colours. His name exploded on the scientific scene as the inventor and constructor of a new kind of telescope—what later became known as the reflector (which was somewhat misleading compared with its name during the seventeenth century: the catadioptrical telescope). Had the erudition of the London virtuosi been a little broader, they would have known that in fact he was not the inventor of the telescope, even though the precise form he gave it was his. Not only was the idea a hundred years old, during which period it was repeatedly suggested by various writers, but also Newton himself took the idea straight from the most recent of these suggestions, namely that included in James Gregory's Optica promota of 1663. The situation becomes even more ironic when we realize that the new instrument was admired for wrong reasons and on merits that were far from Newton's intentions. Nevertheless, admired it was, and there was a good reason for this: Newton's instrument was in fact the first reflector actually to be constructed and, moreover, for a few weeks (before its mirror became tarnished) it performed quite well. Several astonomers became interested because of the high magnifying power relative to its dimensions (about 7 inches long, with a magnification of 38).

scholarly journals The effect of piano accompaniment type and harmonic context on the tuning performance of college-level choral musicians

2018 ◽  
Author(s):  
◽  
Tristan Frampton
Keyword(s):  
Just Intonation ◽  
College Level ◽  
Equal Temperament ◽  
Harmonic Context ◽  
Tuning Systems

This study was designed to evaluate the effect of piano accompaniment style on the intonation performance of college-level choral musicians. It was hypothesized that using a piano accompaniment comprised solely of referential tones (RT), as opposed to having all voice parts doubled by the piano (PD), would encourage more desirable intonation performance. Participants (N = 34) sang a researcher-composed melody harmonized with traditional Western functional harmony under both accompaniment conditions. Accompaniment type was not found to have a significant effect on the tuning performance of target intervals, but harmonic context did significantly affect the singers' intonation. Most notably, intonation of major 3rds in the I and IV chords closely approximated just intonation, regardless of accompaniment type. In the context of the V chord, performances more closely approximated the high Pythagorean 3rd, which was attributed to a tendency to heighten the leading tone. When comparing intonation performance to the just intonation, equal temperament, and Pythagorean tuning systems, results indicated that performances did not conform perfectly to any one tuning system, supporting the conclusion that the singers' intonation performance was dependent on harmonic context.

scholarly journals XVII. Description of a Magnetimeter, being a New Instrument for Measuring Magnetic Attractions, and Finding the Dip of the Needle; with an Account of Experiments made with it

1823 ◽  
Vol 9 (1) ◽  
pp. 243-258 ◽  
Author(s):  
William Scoresby
Keyword(s):  
Royal Society ◽  
New Instrument

About ten months ago, I had the honour of communicating to the Royal Society, a description of a new instrument for ascertaining the Magnetic Dip. Having made very considerable improvements in the apparatus, by means of which some curious results on the magnetic laws, especially those that relate to the production and annihilation of magnetism in iron, have been obtained,—I now beg leave to submit to the Society a drawing and description of my improved instrument, together with an outline of some of the most interesting experiments made with it. Many of the results appear to me to be new; if so, their importance will be my excuse for repeating some parts of the description given in the former paper. It has been long known that iron might be rendered magnetical by percussion; but I am not aware that the precise effect of position has ever been suggested, I remain, &c.

Sign in / Sign up

Export Citation Format

Share Document