Abstract
Many persons involved in music technology have not been trained in music, and their knowledge of music theory is often limited. At the same time, they may have strong musical preferences, and possess “good ears,” in the conventional sense of being able to discern musical nuances and fine pitch relationships. We will introduce some musical terminology in this chapter. Those readers with a basic musical background will have no difficulty, and for those without such a background the definitions we give may bridge the gap. A few sessions at the keyboard with a musician should clarify the remaining points.
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References Cited
Barbour, J. 1953. Tuning and Temperament. East Lansing, Mi: Michigan State College Press.
Recommended Reading
Backus, J. 1969. The Acoustical Foundations of Music. New York: Norton.
Benade, A. 1976. Fundamentals of Musical Acoustics. New York: Oxford.
Berg, R., and D. Stork. 1982. The Physics of Sound. Englewood Cliffs, NJ: Prentice-Hall.
Culver, C. 1956. Musical Acoustics. New York: McGraw-Hill.
The New Oxford Companion to Music. 1983. New York: Oxford.
Pierce, J. 1983. The Science of Musical Sound. New York: Scientific American Books.
Rossing, T. 1990. The Science of Sound. Reading, MA: Addison-Wesley.
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© 1995 Springer Science+Business Media New York
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Eargle, J.M. (1995). Scales, Temperament, and Tuning. In: Music, Sound, and Technology. Springer, Boston, MA. https://doi.org/10.1007/978-1-4757-5936-5_3
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DOI: https://doi.org/10.1007/978-1-4757-5936-5_3
Publisher Name: Springer, Boston, MA
Print ISBN: 978-1-4757-5938-9
Online ISBN: 978-1-4757-5936-5
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