Relevant bibliographies by topics / Just intonation

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Just intonation'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2025

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Journal articles on the topic "Just intonation"

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Gannon, J. William, and Rex A. Weyler. "Just intonation tuning." Journal of the Acoustical Society of America 100, no. 2 (1996): 692. http://dx.doi.org/10.1121/1.416227.

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Fretheim, Thorstein, and Randi Alice Nilsen. "Terminal Rise and Rise-fall Tunes in East Norwegian Intonation." Nordic Journal of Linguistics 12, no. 2 (1989): 155–81. http://dx.doi.org/10.1017/s0332586500002031.

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This paper argues that there is a phonological opposition between falling and non-falling utterance-terminal tunes in East Norwegian intonation. East Norwegian intonational foci are characterized by a rising pitch movement and there is no way that you can raise the pitch even further to express “rising intonation”. What you obtain instead is a distinction between a focal rise followed by a terminal fall in pitch and a focal rise without a subsequent falling terminal. The falling vs. non-falling terminal contrast is utilized differently in Intonation Units (IUs) with just one Intonational Phras
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Kopiez, Reinhard. "Intonation of Harmonic Intervals: Adaptability of Expert Musicians to Equal Temperament and Just Intonation." Music Perception 20, no. 4 (2003): 383–410. http://dx.doi.org/10.1525/mp.2003.20.4.383.

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This study examines the deviation in the intonation of simultaneously sounding tones under the condition of an embedded melody task. Two professional musicians (trumpet players) were chosen as subjects to play the missing upper voice of a four-part audio example, while listening via headphones to the remaining three parts in adaptive five-limit just intonation and equal temperament. The experimental paradigm was that of a controlled varied condition with a 2 (tuning systems) ×× 5 (interval categories) ×× 5 (renditions) ×× 2 (players) factorial design. An analysis of variance showed a nonsignif
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Muzzulini, Daniel. "Isaac Newton's Microtonal Approach to Just Intonation." Empirical Musicology Review 15, no. 3-4 (2021): 223–48. http://dx.doi.org/10.18061/emr.v15i3-4.7647.

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In 1665 Isaac Newton wrote a notebook in which he collected materials for a musical treatise which was never completed. He investigated ways of approximately representing just intonation scales by dividing the octave into many equally sized intervals. Strictly speaking, equal divisions of the octave are incompatible with just intonation, and just intonation intervals are audibly different from the intervals played on a modern equally tempered modern piano. By increasing the number of parts of an equal division, just intonation can be approximated arbitrarily well. Scales with more than 60 micr
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Muzzulini, Daniel. "Isaac Newton's Microtonal Approach to Just Intonation." Empirical Musicology Review 15, no. 3-4, 2020 (2021): 223–48. https://doi.org/10.5281/zenodo.5667250.

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In 1665 Isaac Newton wrote a notebook in which he collected materials for a musical treatise which was never completed. He investigated ways of approximately representing just intonation scales by dividing the octave into many equally sized intervals. Strictly speaking, equal divisions of the octave are incompatible with just intonation, and just intonation intervals are audibly different from the intervals played on a modern equally tempered modern piano. By increasing the number of parts of an equal division, just intonation can be approximated arbitrarily well. Scales with more than 60 micr
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Haluška, Ján. "Comma 32 805/32 768." International Journal of Uncertainty, Fuzziness and Knowledge-Based Systems 06, no. 03 (1998): 295–305. http://dx.doi.org/10.1142/s0218488598000252.

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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
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Kirck, George T. "Computer Realization of Extended Just Intonation Compositions." Computer Music Journal 11, no. 1 (1987): 69. http://dx.doi.org/10.2307/3680179.

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Loosen, Franz. "Intonation of solo violin performance with reference to equally tempered, Pythagorean, and just intonations." Journal of the Acoustical Society of America 93, no. 1 (1993): 525–39. http://dx.doi.org/10.1121/1.405632.

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Bates, Joe. "PROPORTION AND SYMMETRY AS MUTUAL ANTAGONISTS IN TUNING: SOME QUARTER-TONE RESOURCES." Tempo 78, no. 309 (2024): 67–78. http://dx.doi.org/10.1017/s004029822400007x.

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AbstractQuarter-tones have the dubious honour of being the microtonal default in Western art music, yet they have been of little recent interest to those most involved with extended intonation. Other microtonal equal divisions have appealed as pragmatic approximations of consonant just-intonation intervals, something that quarter-tones do not offer. This article proposes that quarter-tones can be valued in a different way, for their ability to generate symmetrical harmonic resources that divide the fourth and fifth as the tritone does the octave. These resources are offered as examples of a br
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Malikova, Julia M. "Intonation structure of interrogative sentences." Yugra State University Bulletin 12, no. 1 (2016): 101–4. http://dx.doi.org/10.17816/byusu2016121101-104.

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This article seeks to examine the intonation in the concretetion interrogative sentence - s . We consider their main function in pronunciation . And just as expressive and emotionalness affects the intonation in speech.
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Dissertations / Theses on the topic "Just intonation"

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Cuffman, Timothy James. "A practical introduction to just intonation through string quartet playing." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3065.

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Intonation is one of the most important issues facing performers of string quartets. Often, string students learn to play in tune strictly in terms of their own melodic line. To play in tune in a string quartet requires an understanding of the underlying harmony and how intonation can be fluid and flexible in an ensemble. This paper offers students an introduction to harmonic intonation and provides exercises to put this knowledge into practice. The text begins with instruction and exercises related to perfect intervals, which form the basis for intonation. Next, consonant intervals are discus
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Sonnabaum, Mark. "Modern Api Design and Physical Computing Techniques in Just Intonation Performance Practice." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271901/.

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approached previously by both Harry Partch and Ben Johnston, and proposes the decoupling of interface and sound production as a way forward. The design and implementation of a software instrument and a hardware prototype are described, both using a simple API for variable tuning instruments. The hardware prototype uses physical computing techniques to control the tuning of a string with a servo motor, while the software instrument exists entirely in a web browser. Finally, potential algorithms for clients of the API are presented, and the effectiveness of the hardware prototype is evaluated by
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Figg, Graham Elliot. "Just Intonation and the Revitalization of Neoclassicism: Three Works for Baroque Instruments." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6113.

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Thesis (M.M.)--University of North Texas, 2008.<br>First work for harpsichord; 2nd work for baroque cello and harpsichord continuo; 3rd work for tenor and baroque ensemble (trumpet, cello, timpani, organ and harpsichord). System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 48-50).
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Scott, Elizabeth Renee. "Fine tuning choral intonation: The development, implementation and evaluation of a pedagogical method for just intonation in a cappella choral singing." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/26817.

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Choral singers have a natural tendency to tune to each other in just intonation. However, choirs are notorious for their pitch drift and poor intonation, particularly in a cappella choral repertoire. It is common practice for choral directors to use a piano in rehearsal to provide the singers with starting pitches, to aid in repertoire learning and to assist with tuning chords. However, this dependency on the equal-tempered piano, hinders ensemble listening and chorister self-reliance and can lead to out of tune singing in a cappella repertoire. The aim of this study is to develop, impleme
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Bromander, Vilhelm. "Solokontrabas : hur akustik, intonation och perception inspirerat till ny musik." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2380.

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Acoustics, intonation and perception are fields that musicians deal with every day. Even so, they are rarely taught extensively in musical education. In my artistic project I investigated how new knowledge in these fields could work as a musical resource and inspire to new solo music for double bass.  My method has been to compose studies, to make use of this new knowledge in a musical setting. In the etudes I have isolated small areas such as; beating, multiphonics, overpressure, just intonation intervals, the pitch-rhythm continuum, difference tones and microtonal modulation. This work has c
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van, Duuren Alexander. "The Duality of Settings: How the Acoustics of Different Audition Environments Necessitate a Two-Fold Preparation of Audition Excerpts." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/332739.

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It is widely known that intonation in live professional trombone auditions is one of the most critical factors for which execution is paramount. However, the musician who practices dutifully and precisely with a chromatic tuner, even to the point of technical mastery, will not be prepared sufficiently. He or she will find that in certain environments where heavy reverberation is present, the harmonies inadvertently created are not in tune, even when equal-tempered tuning is executed perfectly, due to the harmonic interactions that those reverberations create. Therefore, it is important that tr
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Toll, Abigail. "Matrices of Vision : Sonic Disruption of a Dataset." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4152.

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Matrices of Vision is a sonic deconstruction of a higher education dataset compiled by the influential Swedish higher education authority Universitetskanslersämbetet (UKÄ). The title Matrices of Vision and project theme is inspired by Indigenous cyberfeminist, scholar and artist Tiara Roxanne’s work into data colonialism. The method explores how practical applications of sound and theory can be used to meditate on political struggles and envision emancipatory modes of creation that hold space through a music-making practice. The artistic approach uses just intonation as a system, or grid of
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Palmblad, Simon. "A = 432: A superior tuning or just a different intonation? How tuning standards affects emotional response, timbre and sound quality in music." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-15414.

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The purpose of this study was to explore the ways tuning to A = 432 Hz affects emotional response, timbre, sound quality, character and tone compared to the standard tuning of A = 440 Hz, and whether or not it is humanly possible to discern a difference between these two. This was all done in an effort to evaluate claims that A = 432 Hz is superior to standard tuning in regards the previously mentioned factors. For this to be done, the history and development of tuning standards as well as intonation systems, presented alongside theories on the basic physics of sound, the effect of spectral ma
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Leidenius, Dennis. "Adaptiv stämning : En bedömning av acceptabilitet och tonkvalitetsuppfattning." Thesis, Högskolan Dalarna, Musik med Musikvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:du-5467.

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This thesis presents an adaptive tuning system that can be described as a dynamic Just Intonation tuning system, being compatible with equally tempered instruments. The tuning system is called Hermode Tuning (HMT) and the tuning used as comparison for evaluation is the standardized western tuning, the equal tempered tuning. This study investigates preferences for these two musical tuning systems, depending on whether the tunings are presented on a piano or with woodwind instruments. A listening test was done with students at the Falun Conservatory of Music, including both a vertical listening
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Burt, Warren. "Algorithms, microtonality, performance eleven musical compositions /." Access electronically, 2007. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080131.162859/index.html.

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Thesis (Ph.D.)--University of Wollongong, 2007.<br>Typescript. Includes 2 sound discs and 1 DVD-ROM in back pocket. CD 1: The animation of lists; CD 2: And the archytan transpositions. DVD-ROM contains Part Three - Appendix. Includes bibliographical references: leaf 291-301.
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Books on the topic "Just intonation"

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Johnston, Ben. Progression: For solo string bass. Smith Publications, 1996.

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Stüber, Jutta. Anleitung zum Quartettspiel in reiner Stimmung. Orpheus, 1994.

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Johnston, Ben. Pursuit: Bassoon and tuba : 1992. Smith Publications, 1996.

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Partch, Harry. Two studies on ancient scales: 1946/1994. Smith Publications, 1997.

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Partch, Harry. Barstow: Eight hitchhiker inscriptions from a highway railing at Barstow, California. Smith Publications, 1996.

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Partch, Harry. Barstow: Eight hitchhiker inscriptions from a highway railing at Barstow, California. Smith Publications, 1996.

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Inada, Lawson Fusao. Just intonations: Poetry. Graven Images Gallery Press, 1996.

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Cobbing, Bob. In Just Intonation. Writers' Forum, 1997.

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Fokker, A. D. Just Intonation and the Combination of Harmonic Diatonic Melodic Groups. Springer London, Limited, 2012.

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Just Intonation and the Combination of Harmonic Diatonic Melodic Groups. Springer, 2012.

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Book chapters on the topic "Just intonation"

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Hiebert, Erwin. "Just Intonation and the Harmonium." In Archimedes. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-06602-8_8.

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Hiebert, Erwin. "Just Intonation and the 12-tone System (1949)." In Archimedes. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-06602-8_24.

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Vasudevan, D. V. K., Nagamani Molakatala, Nikil Priyatham, Ravikant Gautam, and M. Rajender. "Equal Temperament and Just Intonation Feature Based Analysis of Indian Music." In Intelligent Human Computer Interaction. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-27199-1_12.

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Nuño, Luis. "The Envelopes of Consonant Intervals and Chords in Just Intonation and Equal Temperament." In Mathematics and Computation in Music. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21392-3_24.

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Rimas, Juozas, and Juozas Rimas Jr. "Interpretation (the Main Form of the Manifestation of Music)." In Etudes on the Philosophy of Music. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-63965-4_16.

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AbstractBased on the author’s course at the Lithuanian Academy of Music and Theatre. 16.1. The Origin and Meaning of Interpretation. The work exists as a possibility of an undefined set of interpretations: so long as it exists like this, it exists not for us; we only make it our own through interpreting it (A. Maceina). Before something becomes interpretable, it first has to be understood. Performance vs. interpretation. Hermeneutics, exegesis and interpretation. Whoever wants to understand a text projects a meaning of the whole (H. Gadamer), as well as the sequence of musical events—the narra
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Gann, Kyle. "The American Just Intonation Tradition." In The Oxford Handbook of Spectral Music. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190633547.013.5.

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Abstract The practice of just intonation began in America in 1928 when a young Harry Partch - inspired by the writings of Hermann von Helmholtz and Henry Cowell - burned all of his previous compositions in a pot-bellied stove in New Orleans, and began work on a new system of music. Over the next four decades Partch built his own orchestra capable of playing 43 tones to the octave. Others would follow, if less radically, Partch’s example. Partch’s apprentice Ben Johnston wrote ten string quartets exploring a wide world of tuning. Lou Harrison adopted microtonality through writing for Indonesian
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Fullard, Annie, and Dorianne Cotter-Lockard. "Techniques for Intonation." In The Art of Collaboration. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197673126.003.0011.

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Abstract Good intonation enhances the quality of sound and resonance in performance. When interval relationships are understood and agreed upon, a group develops its own system of coherent and consistent tuning. This chapter provides guidance, practices, and techniques for practicing ensemble intonation. The concepts of just intonation and equal temperament are introduced, and approaches to intonation include establishing a tuning routine, and melodic and vertical intonation. A section for string ensembles outlines best practices on tuning at the beginning of rehearsals. Included are guidance
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"Chapter 17.Just Ancient Loops The Loops Of Life In Intonation." In The Films of Bill Morrison. Amsterdam University Press, 2017. http://dx.doi.org/10.1515/9789048529094-019.

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Kurtzman, Jeffrey. "Tuning and Temperament." In The Monteverdi Vespers Of 1610. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198164098.003.0023.

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Abstract If the performance practice issues discussed in the preceding chapters seem ambiguous and incapable of definitive resolution, matters of tuning and temperament are equally problematic. Tempered tuning, mean-tone tunings, just intonation, Pythagorean tuning, and Ptolemaic tuning were all discussed and argued by theorists in the Renaissance and early seventeenth century. Pythagorean tuning, with its pure fifths, seems to have been preferred until about the middle of the fifteenth century. However, with increasing emphasis on the sonority of thirds and full triads in the late fifteenth c
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Devine, A. M., and Laurence D. Stephens. "The Major Phrase and Utterance." In The Prosody of Greek Speech. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195085464.003.0009.

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Abstract Given that certain aspects of the prosody of a sentence reflect its gram matical structure, it might be thought that they could be accounted for in the simplest and most straightforward manner by computing meas ured intonational, durational and intensity relations directly from the surface syntactic structure. However, as has already been pointed out, there are good grounds for assuming that between syntax and the phonetics of prosody there lies a level of properly phonological prosodic organization. One of the arguments used to support such a level was the independence of the units o
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Conference papers on the topic "Just intonation"

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"APPROXIMATION OF 5-LIMIT JUST INTONATION - Computer MIDI Modeling in Negative Systems of Equal Divisions of the Octave." In International Conference on Security and Cryptography. SciTePress - Science and and Technology Publications, 2008. http://dx.doi.org/10.5220/0001932001810184.

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Kung, Carmen, Dorothee J. Chwilla, Carlos Gussenhoven, Sara Bögels, and Herbert Schriefers. "What did you say just now, bitterness or wife? an ERP study on the interaction between tone, intonation and context in Cantonese Chinese." In Speech Prosody 2010. ISCA, 2010. http://dx.doi.org/10.21437/speechprosody.2010-265.

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Li-Wei, Wang, and Elena Kozlova. "Motor action control in the process of technical training of skilled long jumpers." In The International Scientific Congress "Sports. Olimpysm. Health". SOH 2023. 8th Edition. The State University of Physical Education and Sport, 2025. https://doi.org/10.52449/soh23.64.

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Topicality. Control of athletes' motor actions in the process of technical training is closely associated with the activity of sensory systems - a set of auxiliary formations, receptors, nerve pathways and centers, irritation of which leads to the emergence of a specific sensation characteristic of a given sensory modality. Sensory typology is widespread in psychology. The criterion of characterological differences between individuals is the key sensory system or the modality of human perception of information coming from the surrounding world. Three types of people are distinguished: visual l
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Reports on the topic "Just intonation"

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Lebedenko, Nataliia. FUNCTIONS OF PAUSES IN A BROADCAST TEXT (CASE OF A RADIO ESSAY “FOR THOSE WHO ARE NOT SLEEPING”). Ivan Franko National University of Lviv, 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12148.

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The article explores the importance of pauses in radio broadcasts, specifically in one of 25 radio essays titled “For Those Who Are Not Sleeping” by Yurii Andrukhovych, which opened the project called “Air passion. Radio essays voiced by modern actors” on Kultura radio. The peculiarities of the radio essay intonation have been chosen as the object of the research. The goal of the article is to identify the functions of pauses in the radio essay voiced by its author. To study pauses in the radio essay, the methods of observation (when listening to the radio essay), analysis (when analyzing the
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