Inhaltszusammenfassung

Two simultaneously sounding tones differing in frequency by a few Hertz generate a waveform, whose amplitude modulation relates to the psychoacoustic quantity “fluctua-tion strength”. Following the historic approaches of sensory consonance, any deviation from a pure interval yields dis-sonance. However, imperfect intonation is quite common in musical performance; some instruments are even slightly detuned by intention. Examples are various flat and sharp CELESTE ranks in the Pipe Organ or the...Two simultaneously sounding tones differing in frequency by a few Hertz generate a waveform, whose amplitude modulation relates to the psychoacoustic quantity “fluctua-tion strength”. Following the historic approaches of sensory consonance, any deviation from a pure interval yields dis-sonance. However, imperfect intonation is quite common in musical performance; some instruments are even slightly detuned by intention. Examples are various flat and sharp CELESTE ranks in the Pipe Organ or the VIOLIN double-reed and MUSETTE triple-reed stop of the Accordion. Undulating sounds are pictured as pleasant, shimmering, or celestial. This work explains why mistuned dyads may still appear as consonant sounds. Moreover, it shows that the tonal timbre of harmonic complex tones can change notice-ably and periodically with the beat cycle. The usual practice of CELESTE tuning Pipe Organs and Accordions has been analysed to get an overview. Combining this information with data on the just noticeable frequency difference of our hearing allows deriving general tuning progression rules.» weiterlesen» einklappen

Autoren

Klassifikation

DFG Fachgebiet:
Kunst-, Musik-, Theater- und Medienwissenschaften

DDC Sachgruppe:
Musik