翻訳と辞書
Words near each other
・ Comlongon Castle
・ Comloș River
・ Comloș River (Muncaciu)
・ Comloș River (Olt)
・ Comloșu Mare
・ Comlux
・ Comlux Kazakhstan
・ Comly Rich House
・ Comm
・ COMM (The Tangent album)
・ Comm South Companies
・ Comm100
・ Comm100 Live Chat
・ Comma
・ Comma (disambiguation)
Comma (music)
・ Comma (rhetoric)
・ Comma category
・ Comma Johanneum
・ Comma operator
・ Comma Press
・ Comma splice
・ Comma-free code
・ Comma-separated values
・ Commacide
・ Commack Methodist Church and Cemetery
・ Commack School District
・ Commack, New York
・ CommaFeed
・ Commana


Dictionary Lists
翻訳と辞書 辞書検索 [ 開発暫定版 ]
スポンサード リンク

Comma (music) : ウィキペディア英語版
Comma (music)

In music theory, a comma is a minute interval, the difference resulting from tuning one note two different ways.〔Waldo Selden Pratt (1922). ''Grove's Dictionary of Music and Musicians, Volume 1'', p.568. John Alexander Fuller-Maitland, Sir George Grove, eds. Macmillan.〕 The word ''comma'' used without qualification refers to the syntonic comma,〔Benson, Dave (2006). ''Music: A Mathematical Offering'', p. 171. ISBN 0-521-85387-7.〕 which can be defined, for instance, as the difference between an F tuned using the D-based Pythagorean tuning system, and another F tuned using the D-based quarter-comma meantone tuning system.
Within the same tuning system, two enharmonically equivalent notes (such as G and A) may have a slightly different frequency, and the interval between them is a comma. For example, in extended scales produced with five-limit tuning an A tuned as a major third below C5 and a G tuned as two major thirds above C4 will not be exactly the same note, as they would be in equal temperament. The interval between those notes, the diesis, is an easily audible comma (its size is more than 40% of a semitone).
Commas are often defined as the difference in size between two semitones. Each meantone temperament tuning system produces a 12-tone scale characterized by two different kinds of semitones (diatonic and chromatic), and hence by a comma of unique size. The same is true for Pythagorean tuning.
In just intonation, more than two kinds of semitones may be produced. Thus, a single tuning system may be characterized by several different commas. For instance, a commonly used version of five-limit tuning produces a 12-tone scale with four kinds of semitones and four commas.
The size of commas is commonly expressed and compared in terms of cents – 1/1200 fractions of an octave on a logarithmic scale.
== Commas in different contexts ==

In the column labeled "Difference between semitones", m2 is the minor second (diatonic semitone), A1 is the augmented unison (chromatic semitone), and S1, S2, S3, S4 are semitones as defined here. In the columns labeled "Interval 1" and "Interval 2", all intervals are presumed to be tuned in just intonation. Notice that the Pythagorean comma (PC) and the syntonic comma (SC) are basic intervals which can be used as yardsticks to define some of the other commas. For instance, the difference between them is a small comma called schisma. A schisma is not audible in many contexts, as its size is narrower than the smallest audible difference between tones (which is around six cents, also known as just noticeable difference, or JND).
Many other commas have been enumerated and named by microtonalists〔(List of commas, by prime limit ) in the Xenharmonic wiki〕
The syntonic comma has a crucial role in the history of music. It is the amount by which some of the notes produced in Pythagorean tuning were flattened or sharpened to produce just minor and major thirds. In Pythagorean tuning, the only highly consonant intervals were the perfect fifth and its inversion, the perfect fourth. The Pythagorean major third (81:64) and minor third (32:27) were dissonant, and this prevented musicians from freely using triads and chords, forcing them to write music with relatively simple texture. In late Middle Ages, musicians realized that by slightly tempering the pitch of some notes, the Pythagorean thirds could be made consonant. For instance, if you decrease by a syntonic comma (81:80) the frequency of E, C-E (a major third), and E-G (a minor third) become just. Namely, C-E is flattened to a justly intonated ratio of
: \cdot = =
and at the same time E-G is sharpened to the just ratio of
: \cdot = =
This brought to the creation of a new tuning system, known as quarter-comma meantone, which permitted the full development of music with complex texture, such as polyphonic music, or melodies with instrumental accompaniment. Since then, other tuning systems were developed, and the syntonic comma was used as a reference value to temper the perfect fifths in an entire family of them. Namely, in the family belonging to the syntonic temperament continuum, including meantone temperaments.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
ウィキペディアで「Comma (music)」の詳細全文を読む



スポンサード リンク
翻訳と辞書 : 翻訳のためのインターネットリソース

Copyright(C) kotoba.ne.jp 1997-2016. All Rights Reserved.