Wikipedia pages

I completely revised and greatly expanded the page on wolf intervals:

http://en.wikipedia.org/wiki/Wolf_interval

and added a page for Zarlino:

http://en.wikipedia.org/wiki/Gioseffo_Zarlino

If you want to keep me honest you might check them out.

I like the article on Wolf_interval, but it is not missing to point
out that the wolf fifth is the chain-of-fifths diminished sixth?

Gabor

--- In tuning@yahoogroups.com, "Gene Ward Smith" <gwsmith@s...> wrote:
> I completely revised and greatly expanded the page on wolf
intervals:
>
> http://en.wikipedia.org/wiki/Wolf_interval
>
> and added a page for Zarlino:
>
> http://en.wikipedia.org/wiki/Gioseffo_Zarlino
>
> If you want to keep me honest you might check them out.

--- In tuning@yahoogroups.com, "alternativetuning"
<alternativetuning@y...> wrote:

> I like the article on Wolf_interval, but it is not missing to point
> out that the wolf fifth is the chain-of-fifths diminished sixth?

That could be stated explicitly if you think it would clarify
matters, but it is implict saying that if the meantone fifths run
from Eb to G#, then G#--Eb is the wolf fifth. I don't know if there
is something on augmented and diminished intervals to link to, either.

This should clarify it for the average reader who is trained to
assume that a diminished sixth is the same as a perfect fifth.

It's never an error to be redundant, and if it may be helpful, why
not? (In Maths you avoid redundancy, but this is a learning tool, not
profi maths).

Gabor

--- In tuning@yahoogroups.com, "Gene Ward Smith" <gwsmith@s...> wrote:
> --- In tuning@yahoogroups.com, "alternativetuning"
> <alternativetuning@y...> wrote:
>
> > I like the article on Wolf_interval, but it is not missing to
point
> > out that the wolf fifth is the chain-of-fifths diminished sixth?
>
> That could be stated explicitly if you think it would clarify
> matters, but it is implict saying that if the meantone fifths run
> from Eb to G#, then G#--Eb is the wolf fifth. I don't know if there
> is something on augmented and diminished intervals to link to,
either.

It sounds like this article is similar to findings on this list. Now
would be interesting to see findings for oboes or clarinets or other
instruyments with rich spectra.

Gabor

------

Psychology of Music

Published in Association with:
Society for Education, Music and Psychology Research

Editor Susan Hallam Institute of Education, University of London

Volume 32 Issue 01 - Publication Date: 01/2004

The influence of harmonic context on the tuning of thirds played by
professional flautists
Winfried Leukel and Thomas Stoffer , University of Munich;University
of Munich

(Abstract)

The aim of this study is to investigate how professional orchestral
musicians perform major and minor thirds in different harmonic
contexts. The intervals were recorded simultaneously, in the most
natural acoustic conditions possible, by four professional flautists.
The fundamental frequencies of the pitches were determined from the
digital recording by Fourier transformation with a spectrum analysis
programme. The intention of this was measurement precision of < 1
cent. The measured width of the intervals are compared with their
pure, Pythagorean and equal tempered equivalents. The results show
that, with major thirds and independent of the harmonic context, the
pure tuning is preferred. With minor thirds, pure tuning prevails
over equal temperament tuning when the interval occurs within a
harmonic context, such as a major triad or a dominant seventh chord.
The Pythagorean tuning fares worse in terms of intonation in the
performance of both intervals---

Nice find, Gabor. I'd like to see the full text of this article.
Maybe I will venture to the Berkeley library this week...

-Carl

>It sounds like this article is similar to findings on this list. Now
>would be interesting to see findings for oboes or clarinets or other
>instruyments with rich spectra.
>
>Gabor
>
>------
>
>Psychology of Music
//
>Volume 32 Issue 01 - Publication Date: 01/2004
>
>The influence of harmonic context on the tuning of thirds played by
>professional flautists
//
>(Abstract)
>
>The aim of this study is to investigate how professional orchestral
>musicians perform major and minor thirds in different harmonic
>contexts. The intervals were recorded simultaneously, in the most
>natural acoustic conditions possible, by four professional flautists.
>The fundamental frequencies of the pitches were determined from the
>digital recording by Fourier transformation with a spectrum analysis
>programme. The intention of this was measurement precision of < 1
>cent. The measured width of the intervals are compared with their
>pure, Pythagorean and equal tempered equivalents. The results show
>that, with major thirds and independent of the harmonic context, the
>pure tuning is preferred. With minor thirds, pure tuning prevails
>over equal temperament tuning when the interval occurs within a
>harmonic context, such as a major triad or a dominant seventh chord.
>The Pythagorean tuning fares worse in terms of intonation in the
>performance of both intervals---