About: 22 equal temperament

Facets (new session)
Description
Metadata
Settings
- Rule:
- Inverse Functional Properties:
- "Same As":

About: 22 equal temperament Goto Sponge NotDistinct Permalink

An Entity of Type : yago:WikicatEqualTemperaments, within Data Space : dbpedia.demo.openlinksw.com associated with source document(s)
QRcode icon

http://dbpedia.demo.openlinksw.com/c/EDTF28M5b

In music, 22 equal temperament, called 22-TET, 22-EDO, or 22-ET, is the tempered scale derived by dividing the octave into 22 equal steps (equal frequency ratios). Each step represents a frequency ratio of 22√2, or 54.55 cents. Finally, 22-ET has a good approximation of the 11th harmonic, and is in fact the smallest equal temperament to be consistent in the 11-limit. The net effect is that 22-ET allows (and to some extent even forces) the exploration of new musical territory, while still having excellent approximations of common practice consonances.

Attributes	Values
rdf:type	yago:Abstraction100002137 yago:Act100030358 yago:Activity100407535 yago:Adjustment100999787 yago:Calibration100999245 yago:EqualTemperament101000610 yago:Event100029378 yago:PsychologicalFeature100023100 yago:YagoPermanentlyLocatedEntity aircraft yago:Temperament101000411 yago:WikicatEqualTemperaments
rdfs:label	22 equal temperament (en) 22-toonsverdeling (nl)
rdfs:comment	In music, 22 equal temperament, called 22-TET, 22-EDO, or 22-ET, is the tempered scale derived by dividing the octave into 22 equal steps (equal frequency ratios). Each step represents a frequency ratio of 22√2, or 54.55 cents. Finally, 22-ET has a good approximation of the 11th harmonic, and is in fact the smallest equal temperament to be consistent in the 11-limit. The net effect is that 22-ET allows (and to some extent even forces) the exploration of new musical territory, while still having excellent approximations of common practice consonances. (en) In de muziek is de 22-toonsverdeling, de zogenaamde 22-tet, 22-edo of 22-et, de getempereerde schaal afgeleid door de verdeling van het octaaf in 22 gelijke intervallen met elk een frequentieverhouding van 21/22 of 54,55 cent ( (info / uitleg)). (nl)
foaf:depiction
dcterms:subject	Equal temperaments Microtonality
Wikipage page ID	3604034 (xsd:integer)
Wikipage revision ID	1070819859 (xsd:integer)
Link from a Wikipage to another Wikipage	Limit (music) Equal temperaments Microtonality Equal division of the octave Equal temperament Musical temperament Major seventh Major sixth Major third Music of India 7-limit tuning Cent (music) Tritone Five-limit tuning Diminished fourth Diminished second Diminished third Perfect fifth 19 equal temperament Major tone Just intonation Syntonic comma Minor third Neutral third Whole tone Augmented second Neutral second Octave Septimal minor third Septimal quarter tone Chromatic semitone Septimal chromatic semitone Septimal comma Septimal diatonic semitone Septimal major third Septimal meantone temperament Septimal tritone Septimal whole tone Diatonic semitone Minor tone Paul Erlich Perfect fourth Septimal third-tone J. Murray Barbour RHM Bosanquet 11-limit interval Septimal minor seventh Undecimal major third dbr:José_Würschmidt
Link from a Wikipage to an external page	http://sethares.engr.wisc.edu/paperspdf/Erlich-22.pdf https://www.prismnet.com/~hmiller/midi/canon22.mid
sameAs	22 equal temperament 22 equal temperament 22 equal temperament 22 equal temperament 22 equal temperament 22 equal temperament
dbp:wikiPageUsesTemplate	dbt:0 dbt:Audio dbt:Music dbt:Musical_tuning dbt:Radic dbt:Reflist dbt:Microtonal_music
thumbnail	wiki-commons:Special:FilePath/22-TET_circle_of_fifths.png?width=300
has abstract	In music, 22 equal temperament, called 22-TET, 22-EDO, or 22-ET, is the tempered scale derived by dividing the octave into 22 equal steps (equal frequency ratios). Each step represents a frequency ratio of 22√2, or 54.55 cents. When composing with 22-ET, one needs to take into account a variety of considerations. Considering the 5-limit, there is a difference between 3 fifths and the sum of 1 fourth + 1 major third. It means that, starting from C, there are two A's - one 16 steps and one 17 steps away. There is also a difference between a major tone and a minor tone. In C major, the second note (D) will be 4 steps away. However, in A minor, where A is 6 steps below C, the fourth note (D) will be 9 steps above A, so 3 steps above C. So when switching from C major to A minor, one need to slightly change the note D. These discrepancies arise because, unlike 12-ET, 22-ET does not temper out the syntonic comma of 81/80, and in fact exaggerates its size by mapping it to one step. Extending 22-ET to the 7-limit, we find the septimal minor seventh (7/4) can be distinguished from the sum of a fifth (3/2) and a minor third (6/5). Also the septimal subminor third (7/6) is different from the minor third (6/5). This mapping tempers out the septimal comma of 64/63, which allows 22-ET to function as a "Superpythagorean" system where four stacked fifths are equated with the septimal major third (9/7) rather than the usual pental third of 5/4. This system is a "mirror image" of septimal meantone in many ways. Instead of tempering the fifth narrow so that intervals of 5 are simple while intervals of 7 are complex, the fifth is tempered wide so that intervals of 7 are simple while intervals of 5 are complex. The enharmonic structure is also reversed: sharps are sharper than flats, similar to Pythagorean tuning, but to a greater degree. Finally, 22-ET has a good approximation of the 11th harmonic, and is in fact the smallest equal temperament to be consistent in the 11-limit. The net effect is that 22-ET allows (and to some extent even forces) the exploration of new musical territory, while still having excellent approximations of common practice consonances. (en) In de muziek is de 22-toonsverdeling, de zogenaamde 22-tet, 22-edo of 22-et, de getempereerde schaal afgeleid door de verdeling van het octaaf in 22 gelijke intervallen met elk een frequentieverhouding van 21/22 of 54,55 cent ( (info / uitleg)). Het idee om het octaaf te verdelen in 22 gelijke delen lijkt te zijn ontstaan bij de 19e-eeuwse muziektheoreticus R.H.M. Bosanquet. Geïnspireerd door de verdeling van het octaaf in 22 ongelijke delen in de muziektheorie van India, merkte Bosanquet op dat het met een dergelijke verdeling mogelijk was een stemming met limiet 5 met aanvaardbare nauwkeurigheid te verkrijgen. Hierin werd hij in de 20e eeuw gevolgd door theoreticus José Würschmidt, die deze stemming opmerkte als volgende mogelijke stap na de 19-toonsverdeling. Ook J. Murray Barbour volgde Bosanquet ook in zijn overzicht van stemmingen, Tuning and Temperament. Een hedendaagse voorstander van de 22-toonsverdeling is onder andere muziektheoreticus Paul Erlich. (nl)
gold:hypernym	Scale
prov:wasDerivedFrom	wikipedia-en:22_equal_temperament?oldid=1070819859&ns=0
page length (characters) of wiki page	16809 (xsd:nonNegativeInteger)
foaf:isPrimaryTopicOf	wikipedia-en:22_equal_temperament
is Link from a Wikipage to another Wikipage of	Robert Holford Macdowall Bosanquet Index of music articles 15 equal temperament Quarter tone Equal temperament

Faceted Search & Find service v1.17_git147 as of Sep 06 2024

Alternative Linked Data Documents: ODE Content Formats:

RDF

ODATA

Microdata

About

OpenLink Virtuoso version 08.03.3332 as of Dec 5 2024, on Linux (x86_64-generic-linux-glibc212), Single-Server Edition (378 GB total memory, 71 GB memory in use)
Data on this page belongs to its respective rights holders.
Virtuoso Faceted Browser Copyright © 2009-2025 OpenLink Software