Tuning, Timbre, Spectrum, Scale

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Springer Science & Business Media, Jan 3, 2005 - Mathematics - 426 pages
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The only things truly universal in music are those that are based on biological and/or perceptual facts. Tuning Timbre Spectrum Scale focuses on perceptions of consonance and dissonance, which are defined in the Harvard Dictionary of Music: "Consonance is used to describe the agreeable effect produced by certain intervals as against the disagreeable effect produced others. Consonance and dissonance are the very foundation of harmonic music... consonance represents the element of smoothness and repose, while dissonance represents the no less important elements of roughness and irregularity.” Tuning Timbre Spectrum Scale begins by asking (and answering) the question: How can we build a device to measure consonance and dissonance? The remainder of the book describes the impact of such a "dissonance meter” on music theory, on synthesizer design, on the construction of musical scales and tunings, on the design of musical instruments, and introduces related compositional techniques and new methods of musicological analyses. A new chapter contains a detailed explanation of how the software works. It incorporates several important simplifications over the full presentation in the current Chapter 7 in order to allow it to function in real time. Another new chapter describes the various ways that the software can be used. New sections throughout the book bring it up to date with the current state of the subject. Tuning Timbre Spectrum Scale offers a unique analysis of the relationship between the structure of sound and the structure of scale and will be useful to musicians and composers who use inharmonic tones and sounds. This includes a large percentage of people composing and performing with modern musical synthesizers. It will be of use to arrangers, musicologists, and others interested in musical analysis. Tuning Timbre Spectrum Scale provides a unique approach to working with environmental sounds, and there are clear applications for the use of inharmonic sounds in film scoring. The book will also be of interest to engineers and others interested in the design of audio devices such as musical synthesizers, special effects devices, and keyboards.
  

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Contents

IV
1
V
4
VI
5
VII
8
VIII
11
X
13
XI
27
XII
32
LXXI
196
LXXII
198
LXXIII
199
LXXIV
201
LXXV
202
LXXVI
211
LXXVII
216
LXXVIII
220

XIII
37
XIV
38
XV
39
XVIII
40
XIX
43
XX
45
XXI
48
XXII
49
XXIII
51
XXV
52
XXVI
56
XXVII
60
XXVIII
64
XXIX
65
XXX
66
XXXI
70
XXXII
73
XXXIV
74
XXXV
77
XXXVII
81
XXXVIII
86
XXXIX
94
XL
95
XLII
97
XLIII
99
XLIV
101
XLV
104
XLVI
113
XLVII
120
XLVIII
125
XLIX
127
L
130
LI
131
LIII
139
LIV
145
LV
153
LVI
155
LVII
157
LVIII
159
LIX
162
LX
164
LXI
172
LXII
177
LXIII
179
LXV
180
LXVI
182
LXVII
184
LXVIII
185
LXIX
189
LXX
194
LXXIX
221
LXXX
232
LXXXI
242
LXXXII
245
LXXXIII
247
LXXXV
251
LXXXVI
254
LXXXVII
266
LXXXVIII
267
LXXXIX
269
XC
277
XCI
284
XCII
289
XCIII
291
XCIV
292
XCV
293
XCVI
294
XCVII
300
XCIX
301
C
303
CI
304
CII
305
CIII
310
CIV
316
CV
317
CVI
318
CVII
320
CVIII
322
CIX
324
CXI
327
CXII
329
CXIII
331
CXIV
333
CXV
343
CXVI
345
CXVII
349
CXVIII
355
CXIX
361
CXX
365
CXXI
371
CXXII
375
CXXIII
377
CXXIV
381
CXXV
395
CXXVI
399
CXXVII
411
CXXVIII
413
CXXIX
417
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About the author (2005)

William A. Sethares is a Professor in the Department of Electrical and Computer Engineering at the University of Wisconsin, Madison. He is the author of Rhythm and Transforms (2007) and Tuning, Timbre, Spectrum, Scale (2005).