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Journal articles on the topic 'Music Tuning'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Wisuttipat, Nattapol. "Relative Nature of Thai Traditional Music through its Tuning System." International Journal of Creative and Arts Studies 2, no. 1 (2017): 86. http://dx.doi.org/10.24821/ijcas.v2i1.1441.

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Thai traditional music exhibits number of relative characteristics, though many of them are not expressed explicitly but only demonstrated orally. Its tuning system, despite having been put through many scientific studies for decades, cannot be given the absolute pitch frequencies. It is therefore possible that the tuning system does not have any absolute pitch frequencies but possesses relative nature. This papers aims to present the historic background, characteristics, past, current practices of Thai traditional music’s tuning system and to put forward the theoretical idea of non-existence

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2

Avery, Lanice R., L. Monique Ward, Lolita Moss, and Dilara Üsküp. "Tuning Gender." Journal of Black Psychology 43, no. 2 (2016): 159–91. http://dx.doi.org/10.1177/0095798415627917.

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Although analyses indicate that mainstream media are a prominent force in the gender socialization of Black youth, little is known about the nature of gender messages in contemporary music, especially in music by Black artists. To explore this issue, we conducted a systematic content analysis of 527 top songs by Black artists released from 1990 to 2010, coding each song for the presence of 23 attributes reflecting hegemonic masculinity and femininity. Analyses also examined differences in gender messages based on time period and genre. Findings indicated that representations of hegemonic mascu

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3

Gurney, O. R. "Babylonian Music Again." Iraq 56 (1994): 101–6. http://dx.doi.org/10.1017/s0021088900002849.

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In Iraq 30 (1968) I published a fragmentary text from Ur, then numbered 7/80, containing part of a treatise on the tuning of the sammû instrument, and with the collaboration of the musicologist David Wulstan, who himself contributed a companion article, I added an interpretation, with a table showing that the text described seven different tunings, with instructions in two chapters for the conversion of each one to the next, first by lowering, then by raising the pitch of one string by a semitone. The copy of the text was subsequently published again as UET VII 74 and the number 7/80 was aband

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4

Selvendran, Subothini, Nikhil Aggarwal, and Vassilios Vassiliou. "Tuning the heart with music." Journal of the Royal Society of Medicine 108, no. 11 (2015): 462–64. http://dx.doi.org/10.1177/0141076815600906.

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5

Bhattacharjee, Sudip, Ram D. Gopal, James R. Marsden, and Ramesh Sankaranarayanan. "Re-tuning the music industry." Communications of the ACM 52, no. 6 (2009): 136–40. http://dx.doi.org/10.1145/1516046.1516081.

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6

Perani, Daniela, Mari Tervaniemi, and Petri Toiviainen. "Tuning the brain for music." Cortex 47, no. 9 (2011): 1023–25. http://dx.doi.org/10.1016/j.cortex.2011.05.021.

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7

Pollens, Stewart, Jean Denis, and Vincent J. Panetta. "Harpsichord Tuning." Musical Times 130, no. 1754 (1989): 213. http://dx.doi.org/10.2307/966468.

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8

Jamnongsarn, Surasak. "TRANSKULTURASI MUSIK ANTARAGAMELAN JAWA, ANGKLUNG, DAN MUSIK TRADISI THAILAND." MELAYU ARTS AND PERFORMANCE JOURNAL 2, no. 2 (2020): 158. http://dx.doi.org/10.26887/mapj.v2i2.975.

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Javanese gamelan and angklung to Thailand music gives the impact on the development of Thailand traditional music. That musical transculturation exists in the musical instrument of angklung and the musical concept of Javanese gamelan that are then mixed with the system of Thailand traditional music involving gamut (tuning system), presentment method, and its function in society. This transculturation shows the understanding of cultural relation between Thailand traditional music that has the background of Buddhism philosophy and Gamelan that has the background of Kejawen syncretism. These two

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9

Bozkurt, Barış. "A System for Tuning Instruments Using Recorded Music Instead of Theory-Based Frequency Presets." Computer Music Journal 36, no. 3 (2012): 43–56. http://dx.doi.org/10.1162/comj_a_00128.

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Musical instrument tuners are devices that help musicians to adjust their instruments such that the played notes have the desired fundamental frequencies. In a conventional tuner, the reference tuning frequencies are preset, where the presets are obtained from tuning (musical scale) theory, such as twelve-tone equal temperament, or are user-specified temperaments. For many kinds of music in oral traditions, especially nonwestern music, widely accepted theoretical presets for tuning frequencies are not available because of the use of non-standard tunings. For such contexts, the “reference” is a

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10

Yarbrough, Cornelia, Brant Karrick, and Steven J. Morrison. "Effect of Knowledge of Directional Mistunings on the Tuning Accuracy of Beginning and Intermediate Wind Players." Journal of Research in Music Education 43, no. 3 (1995): 232–41. http://dx.doi.org/10.2307/3345638.

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The purpose of this research was to study the effect of knowledge of directional mis-tunings on the tuning accuracy of beginning and intermediate wind players. Subjects (N = 197) were instrumental wind players who tuned to either an For a B-flat with both their own instrument—a performance task—and the tuning knob of a variable-pitch keyboard—a perception task. The subjects were randomly assigned to one of three treatment groups: Group 1 knew that their instruments and the tuning knob were mis-tuned in the sharp direction; Group 2 knew that their instruments and the tuning knob were mistuned i

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11

Otterstedt, Annette. "Fretting about tuning." Early Music 45, no. 4 (2017): 676–79. http://dx.doi.org/10.1093/em/cax101.

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12

Owens, Alfred Shabda, and Scott R. Wilkinson. "Tuning In: Microtonality in Electronic Music." Computer Music Journal 13, no. 3 (1989): 92. http://dx.doi.org/10.2307/3680018.

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13

Aucouturier, Jean-Julien. "The Hypothesis of Self-Organization for Musical Tuning Systems." Leonardo Music Journal 18 (December 2008): 63–69. http://dx.doi.org/10.1162/lmj.2008.18.63.

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Musical tuning systems are found in intriguing diversity in human cultures around the world and over the history of human music-making. Traditional justifications for the adoption of such musical systems consider tuning an algorithmic optimization of consonance. However, it is unclear how this can be implemented in a realistic evolutionary process, with no central entity in charge of optimization. Inspired by the methodology of artificial language evolution, the author proposes that tuning systems can emerge as the result of local musical interactions in a population. His computer simulations

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14

Fiore, Giacomo. "HETEROPHONIC TUNINGS IN THE MUSIC OF LARRY POLANSKY." Tempo 68, no. 267 (2014): 29–41. http://dx.doi.org/10.1017/s0040298213001319.

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AbstractThis paper explores the use of heterophonic tunings, the gradual substitution of pitches from one harmonic series to another resulting in the simultaneous sounding of different and sometimes contrasting intonations, in the music of the American composer Larry Polansky. The discussion is contextualised by an exploration of the innovations in tuning practice in the work of an earlier generation of American composers. The ramifications of Polansky's compositional ideas in terms of notation and performability are examined with reference to several key works, notably for jim, ben and lou; f

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15

Lindley, M., and I. Ortgies. "Bach-style keyboard tuning." Early Music 34, no. 4 (2006): 613–24. http://dx.doi.org/10.1093/em/cal065.

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16

Sukljan, Nejc. "Zarlino’s Harpsichord: A Contribution to the (Pre)History of Equal Temperament." Musicological Annual 54, no. 1 (2018): 5–22. http://dx.doi.org/10.4312/mz.54.1.5-22.

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This paper deals with the tuning question as it is discussed in Gioseffo Zarlino’s principal musical-theoretical treatise, Istitutioni harmoniche (1558). First, Zarlino’s tuning system in vocal music (the syntonic diatonic) is presented; then, its shortcomings are discussed; and finally, its adjustment (temperament) for the use in instrumental music is explained.

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17

van der Linden, Bob. "Non-Western national music and empire in global history: interactions, uniformities, and comparisons." Journal of Global History 10, no. 3 (2015): 431–56. http://dx.doi.org/10.1017/s1740022815000212.

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AbstractInspired by C. A. Bayly’s notion of global uniformities, this article investigates the different ways in which elitist non-Western music reformers, often with state support, canonized and institutionalized modern national music traditions during the age of liberalism and empire. As these non-Western music reformers reinterpreted liberal and earlier Enlightenment ideas, they envisaged their own musics hierarchically in comparison with Western music. In the context of comparative musicological thinking, they became particularly preoccupied with the systematization of scales, equal temper

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18

Trueman, Dan, Aatish Bhatia, Michael Mulshine, and Theo Trevisan. "Tuning Playfully: Composed and Adaptive Tunings in bitKlavier." Computer Music Journal 43, no. 2-3 (2020): 67–88. http://dx.doi.org/10.1162/comj_a_00519.

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Combining a new software system with the familiar interface of the MIDI keyboard, bitKlavier is a versatile instrument for exploring the nature of tuning and temperament. We describe a number of approaches it facilitates, including composed tunings, moving fundamental systems, and a novel system for adaptive tuning. All of these are characterized by the overarching design priority for bitKlavier to be a context for musical play and exploration, as opposed to finding singular, “correct” solutions to particular tuning “problems,” as has often been the case historically.

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19

Silvey, Brian A., Jessica Nápoles, and D. Gregory Springer. "Effects of Pre-Tuning Vocalization Behaviors on the Tuning Accuracy of College Instrumentalists." Journal of Research in Music Education 66, no. 4 (2018): 392–407. http://dx.doi.org/10.1177/0022429418806304.

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The purpose of this study was to examine the effects of two pre-tuning vocalization behaviors (humming and singing) on the tuning accuracy of woodwind and brass instrumentalists. Undergraduate collegiate musicians ( N = 72) performed a sustained stimulus pitch (concert B-flat) while engaging in one of the two conditions or the control condition (silence). We also explored the relationships between participants’ tuning accuracy and their tuning confidence, examined the reasons instrumentalists provided for their pre-tuning vocalization preferences, and compared their most accurate performance c

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20

Hopkins, Michael T. "Teachers’ Practices and Beliefs Regarding Teaching Tuning in Elementary and Middle School Group String Classes." Journal of Research in Music Education 61, no. 1 (2013): 97–114. http://dx.doi.org/10.1177/0022429412473607.

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The purpose of this study was to examine teachers’ practices and beliefs related to the teaching of stringed instrument tuning in elementary and middle school group classes. The aspects examined included the following: (a) teachers’ beliefs about teaching tuning in their string classes, (b) activities teachers used when teaching tuning in string classes, (c) methods for assessing students’ tuning skills, (d) the grade level that tuning instruction begins, (e) the amount of instructional time used for teaching tuning, (f) teachers’ goals for students’ tuning independence, and (g) teacher, progr

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21

Hopkins, Michael T. "Eighth-Grade Violinists’ Instrument Tuning Ability." Journal of Research in Music Education 63, no. 3 (2015): 349–68. http://dx.doi.org/10.1177/0022429415597884.

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The purpose of this study was to explore the relationship between eighth-grade violinists’ pitch perception and instrument tuning skill. The perceptual task was a researcher-developed computer-based Violin Tuning Perception Test. The instrument tuning task involved tuning two violins, one mistuned flat and the other mistuned sharp. Participants ( N = 46) were enrolled at three middle schools in the midwestern United States. A moderate relationship was found between participants’ perceptual accuracy and instrument tuning accuracy, with pitch perception scores significantly more accurate than in

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22

Hatipoglu, Vasfi. "TUNING THE VIOLIN TO PLAY TURKISH MUSIC." Idil Journal of Art and Language 6, no. 29 (2017): 289–309. http://dx.doi.org/10.7816/idil-06-29-04.

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23

Muraru, Aurel. "Choral Intonation and Tuning in Plurivocal Music." Studia Universitatis Babeş-Bolyai Musica 63, no. 1 (2018): 161–67. http://dx.doi.org/10.24193/subbmusica.2018.1.11.

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24

Morgan, Jules. "Music lives on: fine tuning the memory." Lancet Neurology 17, no. 3 (2018): 211–12. http://dx.doi.org/10.1016/s1474-4422(17)30399-x.

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25

McGee, W. F. "Tuning logarithmic spectrum analyzers for music analysis." Journal of the Acoustical Society of America 87, S1 (1990): S4. http://dx.doi.org/10.1121/1.2028250.

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26

Østergaard, Edvin. "Tuning in on the Becoming of Music." Open Philosophy 4, no. 1 (2021): 198–210. http://dx.doi.org/10.1515/opphil-2020-0168.

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Abstract In this article, I explore the music-in-becoming as a dialogue. The thesis of my inquiry is that during musical composition, the composer’s listening is marked by both activeness and receptiveness; actively structuring the sounding work, and receptively letting the work express itself as it takes its form. Composer and work merge in sudden moments of attunement, the sensation of coherence between the so-fare completed and the anticipation of the as-of-yet unformed work. Composition is all about balancing writing as a handicraft with those rare, unexpected moments of attunement. I disc

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27

Rasch, Rudolf A., and Vincent Heetvelt. "String Inharmonicity and Piano Tuning." Music Perception 3, no. 2 (1985): 171–89. http://dx.doi.org/10.2307/40285331.

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Inharmonicity is a well-known property of stiff strings such as those used in the modern piano. Effects on piano tuning (e.g., the stretched octave) have been suggested but have never been fully investigated. We have measured the inharmonicities of the strings of a medium-sized grand piano. The measured inharmonicities are in excellent correspondence with the predictions by formula from the physical properties of the strings. Strings with higher frequencies usually have higher inharmonicity than strings with lower frequencies; this cancels out part of the effect of inharmonicity on beat freque

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28

Osbon, David. "Tuning up for the future." Contemporary Music Review 15, no. 3-4 (1996): 21–26. http://dx.doi.org/10.1080/07494469600640471.

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29

Stange, Karolin, Christoph Wick, and Haye Hinrichsen. "Playing Music in Just Intonation: A Dynamically Adaptive Tuning Scheme." Computer Music Journal 42, no. 3 (2018): 47–62. http://dx.doi.org/10.1162/comj_a_00478.

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We investigate a dynamically adaptive tuning scheme for microtonal tuning of musical instruments, allowing the performer to play music in just intonation in any key. Unlike other methods, which are based on a procedural analysis of the chordal structure, our tuning scheme continually solves a system of linear equations, rather than relying on sequences of conditional if-then clauses. In complex situations, where not all intervals of a chord can be tuned according to the frequency ratios of just intonation, the method automatically yields a tempered compromise. We outline the implementation of

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30

Byo, James L., Amanda L. Schlegel, and N. Alan Clark. "Effects of Stimulus Octave and Timbre on the Tuning Accuracy of Secondary School Instrumentalists." Journal of Research in Music Education 58, no. 4 (2010): 316–28. http://dx.doi.org/10.1177/0022429410386230.

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To test the effects of octave and timbre on tuning accuracy, four stimuli—B-flat 4 sounded by flute, oboe, and clarinet and B-flat 2 sounded by tuba—functioned as reference pitches for high school wind players ( N = 72). The two stimulus octaves combined with participants’ assigned tuning notes created soprano, tenor, and bass tuning groups. All participants tuned to each instrument. Results indicated no effect due to tuning group. There was a significant difference due to stimulus. Participants’ responses were more out of tune to the tuba stimulus than to the oboe, clarinet, and flute stimuli

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31

Hodžić-Mulabegović, Nerma. "Acoustics in Solfeggio - Effect and Outcomes in Educational Practice." English version, no. 10 (October 22, 2018): 71–79. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.71.

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In the tradition of Western European music, the musical process of tuning tones has undergone various stages. Although fixed and confirmed as such, the pitch oscillates due to natural inertia. The Herz – determined tuning of the reference tone is the most applied in both instrumental and vocal-instrumental music. In these cases we witness the strong relationship between acoustics and solfeggio in auditory and performing domain.

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32

Demirbatır, Rasim Erol, Hatice Çeliktaş, and Doruk Engür. "The Effect of the Tuning System and Instrument Variables on Modal Dictation Performance." Journal of Education and Training Studies 6, no. 1 (2017): 124. http://dx.doi.org/10.11114/jets.v6i1.2726.

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Ear training and musical literacy (ETML) education is one of the main dimensions of the bachelor degree program of music teacher education departments, which provides professional music education. In ETML education, hearing, sight-reading and dictation studies for Turkish music makams have an important place. In this study, it was aimed to investigate the effects of different instrument sources and tuning systems; namely, equal tempered or traditionally tempered, on the modal dictation performances of students in dictation exercises in the scope of ETML education. This research was conducted w

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33

Nicolas, Arsenio. "TRADITIONAL MUSIC AND CONTEMPORARY TRENDS: MUSIC IN ASEAN COMMUNITIES." Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, no. 1 (2019): 54–56. http://dx.doi.org/10.33153/sorai.v12i1.2623.

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The traditional music and performing arts in the ASEAN have found new powerful conduits of transmission with the advent of the digital age. Although claims of cultural ownership over music and dance occasionally appear on social networks and media platforms, the ubiquity of the Internet has in fact benefitted the general public, allowing them access to images and sounds hitherto unknown. Modernisation has taken its toll on the region’s musical heritage. Ancient elements of indigenous music have faded away. The influx of popular and Western music has increasingly eroded the space and demand for

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34

Jones, Kevin. "The cosmic keyboard: Tuning the calendar." Contemporary Music Review 14, no. 1-2 (1996): 39–58. http://dx.doi.org/10.1080/07494469600640151.

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35

Kamsma, Douwe, Ramon Creyghton, Gerrit Sitters, Gijs J. L. Wuite, and Erwin J. G. Peterman. "Tuning the Music: Acoustic Force Spectroscopy (AFS) 2.0." Methods 105 (August 2016): 26–33. http://dx.doi.org/10.1016/j.ymeth.2016.05.002.

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36

Kamsma, Douwe, Ramon Creyghton, Gerrit Sitters, Erwin J. G. Peterman, and Gijs J. L. Wuite. "Tuning the Music: Acoustic Force Spectroscopy (AFS) 2.0." Biophysical Journal 110, no. 3 (2016): 501a. http://dx.doi.org/10.1016/j.bpj.2015.11.2679.

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37

Nápoles, Jessica, D. Gregory Springer, Brian A. Silvey, and Kari Adams. "Effects of Pitch Source on Pitch-Matching and Intonation Accuracy of Collegiate Singers." Journal of Research in Music Education 67, no. 3 (2019): 270–85. http://dx.doi.org/10.1177/0022429419863034.

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In this study, we examined the effects of multiple reference pitch sources on collegiate singers’ accuracy in pitch-matching and intonation tasks. We also investigated which reference pitch source participants preferred and for what reasons. Participants ( N = 99) sang a two-measure excerpt of Joseph Dearest, Joseph Mine after listening to the starting pitch of A on a pitch pipe, the piano, a vocal hum, or a tuning fork in two conditions. For one tuning fork condition, participants’ starting pitch was an A, the same pitch as the tuning fork. For the other tuning fork condition, their starting

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38

Friedman, Ronald S., Douglas A. Kowalewski, Dominique T. Vuvan, and W. Trammell Neill. "Consonance Preferences Within an Unconventional Tuning System." Music Perception 38, no. 3 (2021): 313–30. http://dx.doi.org/10.1525/mp.2021.38.3.313.

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Recently, Bowling, Purves, and Gill (2018a), found that individuals perceive chords with spectra resembling a harmonic series as more consonant. This is consistent with their vocal similarity hypothesis (VSH), the notion that the experience of consonance is based on an evolved preference for sounds that resemble human vocalizations. To rule out confounding between harmonicity and familiarity, we extended Bowling et al.’s (2018a) procedure to chords from the unconventional Bohlen-Pierce chromatic just (BPCJ) scale. We also assessed whether the association between harmonicity and consonance was

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39

Watson, Allan, and Dominiqua Drakeford-Allen. "‘Tuning Out' or ‘Tuning in'? Mobile Music Listening and Intensified Encounters with the City." International Journal of Urban and Regional Research 40, no. 5 (2016): 1036–43. http://dx.doi.org/10.1111/1468-2427.12443.

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40

Morrison, Steven J. "Effect of Melodic Context, Tuning Behaviors, and Experience on the Intonation Accuracy of Wind Players." Journal of Research in Music Education 48, no. 1 (2000): 39–51. http://dx.doi.org/10.2307/3345455.

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In the first of two experiments, subjects ( N = 137) were band students with 1, 2, 3, or 4 years of formal instrumental performance experience. Subjects tuned to a single prerecorded tuning pitch and subsequently played along with a prerecorded four-measure melody. Direction and magnitude of pitch deviation were analyzed for the single tuning pitch and four selected target pitches within the melody. Responses to the tuning pitch were more accurate than for the melodic pitches. There was a high positive correlation among the four melodic pitches, but a low positive correlation between the melod

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41

Jamnongsarn, Surasak. "Music deculturation: A traditional thai Music tool for Indonesian Music Adoption." International Journal of Creative and Arts Studies 5, no. 1 (2018): 31–40. http://dx.doi.org/10.24821/ijcas.v5i1.2213.

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There has been foreign music influence on traditional Thai music since Ayutthaya period. Pi Jawa ( Java flute), Klong Jawa ( Java drum) and some traditional Thai song with foreign title have been legally and literally evident in Ayutthaya era. Some said that Thai people are open-minded in music, harmonious mixing overseas music culture with their own. Ethnomusicologists have seen this social phenomenon via music context and explained the revolution of traditional Thai music differently from the acceptance of music in general. This article reviewed the acceptance of Indonesian music, including

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42

Mirelman, Sam, and Theo J. H. Krispijn. "The Old Babylonian tuning text UET VI/3 899." Iraq 71 (2009): 43–52. http://dx.doi.org/10.1017/s0021088900000735.

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AbstractThe text discussed here is one of only two identified fragments of Mesopotamian instructions for tuning a stringed instrument. Apart from its rarity, this text is important in several other respects. It confirms the reconstruction of the tuning cycle suggested by the other tuning fragment (UET VII 74), it appears to belong to a duplicate manuscript of the tuning cycle, it supports the argument for the presence of the verb nê'um (as opposed to enûm) in Akkadian terminology for tuning, and it offers a revised reading of the music-theoretical term nīš GABA.RI as nīš tuḫri(m).

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43

Politis, Dionysios, George Piskas, Miltiadis Tsaligopoulos, and George Kyriafinis. "variPiano™: Visualizing Musical Diversity with a Differential Tuning Mobile Interface." International Journal of Interactive Mobile Technologies (iJIM) 9, no. 3 (2015): 58. http://dx.doi.org/10.3991/ijim.v9i3.4472.

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In this paper the framework of Computer Music interfaces is convolved within the context of Human Computer Interaction (HCI) to produce metaphors and paradigms that engulf differential tunings within adaptable mobile device screens. A presentation of the basic concepts involved in the Computer Music world prevails the discussion on the evaluation criteria for Computer Music virtual instruments and interfaces. New criteria are introduced, like knowledge representation of musical data and alternate musical interfaces materialization. A survey of various systems, based on the previously mentioned

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44

Byo, James L., and Amanda L. Schlegel. "Effects of Stimulus Octave and Timbre on the Tuning Accuracy of Advanced College Instrumentalists." Journal of Research in Music Education 64, no. 3 (2016): 344–59. http://dx.doi.org/10.1177/0022429416662451.

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The purpose of this study was to test the effects of octave and timbre on advanced college musicians’ ( N = 63) ability to tune their instruments. We asked: “Are there differences in tuning accuracy due to octave (B-flat 2, B-flat 4) and stimulus timbre (oboe, clarinet, electronic tuner, tuba)?” and “To what extent do participants’ posttuning perceptions of pitch accuracy align with actual pitch accuracy?” Participants were organized according to octave played in the tuning process, thus forming bass, tenor, and soprano groups. Results showed no significant effect due to group and no significa

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45

Herskind Sejr, Jonas, Thorbjørn Christiansen, Nicolai Dvinge, Dan Hougesen, Peter Schneider-Kamp, and Arthur Zimek. "Outlier Detection with Explanations on Music Streaming Data: A Case Study with Danmark Music Group Ltd." Applied Sciences 11, no. 5 (2021): 2270. http://dx.doi.org/10.3390/app11052270.

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In the digital marketplaces, businesses can micro-monitor sales worldwide and in real-time. Due to the vast amounts of data, there is a pressing need for tools that automatically highlight changing trends and anomalous (outlier) behavior that is potentially interesting to users. In collaboration with Danmark Music Group Ltd. we developed an unsupervised system for this problem based on a predictive neural network. To make the method transparent to developers and users (musicians, music managers, etc.), the system delivers two levels of outlier explanations: the deviation from the model predict

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46

Young, Gayle. "Pitch probe. Musical instruments for unusual tuning systems." Contemporary Music Review 7, no. 1 (1992): 51–64. http://dx.doi.org/10.1080/07494469200640231.

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47

Ashton-Bell, Robert Linton Tavis. "On the Geometric Realisation of Equal Tempered Music." Mapana Journal of Sciences 18, no. 3 (2019): 53–75. http://dx.doi.org/10.12723/mjs.50.5.

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Since the time of Pythagoras (c.550BC), mathematicians interested in music have asked, “What governs the whole number ratios that emerge from derivations of the harmonic series?” Simon Stevin (1548-1620) devised a mathematical underlay (where a semitone equals 21/12) that gave rise to the equal temperament tuning system we still use today. Beyond this, the structure of formalised musical orderings have eluded many of us. Music theorists use the tools and techniques of their trade to peer into the higher-order musical structures that underpin musical harmony. These methods of investigating musi

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Schlegel, Amanda L., and D. Gregory Springer. "Effects of accurate and inaccurate visual feedback on the tuning accuracy of high school and college trombonists." International Journal of Music Education 36, no. 3 (2018): 394–406. http://dx.doi.org/10.1177/0255761418763914.

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Abstract:

We examined how visual feedback from electronic tuners affected trombonists’ pitch performance and tuning confidence. High school ( n = 29) and college trombonists ( n = 30) were tasked to play in tune with a stimulus tone (G3) recorded by a professional trombonist presented through headphones. Following each of three attempts, participants rated their confidence level that their performance was in tune. A different tuner was provided during each tuning attempt and set to one of three conditions: in-tune (A = 440Hz); flat (A = 437Hz); and sharp (A = 443Hz). These tuner conditions displayed eit

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Copeland, Lyndsey. "Pitch and tuning in Beninese brass bands." Ethnomusicology Forum 27, no. 2 (2018): 213–40. http://dx.doi.org/10.1080/17411912.2018.1518151.

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Loosen, Franz. "The Effect of Musical Experience on the Conception of Accurate Tuning." Music Perception 12, no. 3 (1995): 291–306. http://dx.doi.org/10.2307/40286185.

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Abstract:

The present study investigates the relationship between musical experience and subjects' conception of accurate tuning. In a paired comparisons experiment, 7 violinists, 7 pianists, and 10 nonmusicians evaluated the tuning of computer-generated, ascending and descending eight-tone diatonic scales of C major. Subjects were required to indicate which member of the pair was "most accurately tuned." The subjects were unaware that all scales were perfectly tuned in the Pythagorean, just, or equal-tempered intonation, respectively. Results showed that (1) violinists, as a group, preferred Pythagorea

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