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020 _a9783662653364
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024 7 _a10.1007/978-3-662-65336-4
_2doi
050 4 _aT57-57.97
050 4 _aML1-3930
072 7 _aPBW
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072 7 _aAVA
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072 7 _aMAT003000
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_2thema
100 1 _aSchüffler, Karlheinz.
_eauthor.
_4aut
_4http://id.loc.gov/vocabulary/relators/aut
_978803
245 1 0 _aProportions and Their Music
_h[electronic resource] :
_bWhat Fractions and Tone Sequences Have to Do with Each Other /
_cby Karlheinz Schüffler.
250 _a1st ed. 2024.
264 1 _aBerlin, Heidelberg :
_bSpringer Berlin Heidelberg :
_bImprint: Springer,
_c2024.
300 _aXXIV, 273 p. 18 illus., 1 illus. in color.
_bonline resource.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 _aIntroduction -- For use: proportion convention a:b or b:a? -- Proportions -- Proportion chains -- Medietas -- Proportion sequences of Babylonian medietas -- The music of proportions -- APPENDIX -- Proportion table of the most important pure intervals.
520 _aSounds can be harmonic, number sequences too - a coincidence? This book deals with a musical theory of proportions, i.e. the ancient doctrine of proportions as the oldest and most important common anchorage of the two cultural sciences mathematics and music. The musical theory of tones, intervals, tetrachords, sounds and scales is in fact the exact musical image of the laws of arithmetic and its symmetries in the set of rules of playing with numbers, their proportions and their medievals. Alone the miracle of the so-called Harmonia perfecta maxima 6 - 8 - 9 - 12, whose proportions determine the fifth as well as the fourth, form the octave and have the brazen whole tone in their center, shaped the musical edifice of Pythagorean music for thousands of years. This elementary chain of proportions 6 : 8 : 9 : 12 is, moreover, completely symmetrical and built up from the arithmetic as well as from the harmonic medieta of the octave numbers 6 and 12. This book develops the theory of proportions as a mathematical science and always contrasts it with the musical motivation by means of numerous examples. The main idea is the derivation of a theory of symmetry from the Harmonia perfecta maxima to the Harmonia perfecta infinita abstracta, a process of unlimited tone generations by Babylonian mean iterations. From this, both the classical-antique diatonic is simultaneously extracted and the path "from the monochord to the organ" is re-examined. Finally, the work contains a mathematically guided introduction to the ancient tetrachordics as well as to the church tonal scales and concludes with an excursion into the sound worlds of the organ. Here the "foot-number rule of the organ" leads us by means of examples into the world of the tonal dispositions of this instrument and shows the omnipresence of the ancient theory of proportions. This book is suitable for anyone with an interest in mathematics and music. The Author Prof. Dr. Karlheinz Schüffler is a mathematician and musician. As a mathematician he teaches at the University of Krefeld as well as at the University of Düsseldorf. As a musician he practices church music with a focus on organ, Gregorian chant and choir conducting. This book is a translation of an original German edition. The translation was done with the help of artificial intelligence (machine translation by the service DeepL.com). A subsequent human revision was done primarily in terms of content, so that the book will read stylistically differently from a conventional translation.
650 0 _aMusic
_xMathematics.
_977341
650 1 4 _aMathematics in Music.
_977342
710 2 _aSpringerLink (Online service)
773 0 _tSpringer Nature eBook
776 0 8 _iPrinted edition:
_z9783662653357
776 0 8 _iPrinted edition:
_z9783662653371
856 4 0 _uhttps://doi.org/10.1007/978-3-662-65336-4
912 _aZDB-2-SMA
912 _aZDB-2-SXMS
999 _c60781
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