Returning to musical universals - Question of equidistant scale

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Show simple item record Ambrazevičius, Rytis 2009-08-03T06:21:35Z 2009-08-03T06:21:35Z 2009
dc.description.abstract It is widely accepted that asymmetries in intervals of the musical scale (i.e., inequalities of the interval steps) serve as “orientation points so that we can know ‘where’ we are in the scale” (Krumhansl, Snyder). This feature is often treated as universal (Dowling, Harwood, Trehub, etc.). At the same time, there is evidence of equitonics (equidistant scales) in various world musics. Examples of equitonics can be found in European folk music (Grainger, Sachs, Sevåg, etc.), as well as in “exotic” music cultures. Often such scales are anchored on a framework of a fourth or fifth (i.e. the strongest consonances) and filled in with “loosely-knit” (Grainger) intermediate tones. The result is "anhemitonic heptatonism" (Sevåg). Measurements of the musical scales in Lithuanian songs (ca 100 examples) show intermediate cases between equitonics and 12ET-diatonics, however, the principle of equitonicism predominates. Their transcribers and authors of numerous theoretical notes, however, misinterpret the scales as “Ancient Greek” and/or characteristic of “chromaticisms”. Equitonics may be more widespread throughout the world than presumed. Often diatonic “Ancient Greek” scales and scales with chromaticisms are mere misinterpretations of "anhemitonic heptatonism". Equitonics can be regarded as a “more ancient” universal characteristic of the early stages of musical phylogenesis (Alexeyev) and ontogenesis (Zurcher). en
dc.format.extent 11-15
dc.language.iso eng
dc.rights openAccess fi
dc.subject.other equidistant musical scales en
dc.subject.other musical universal en
dc.subject.other “Ancient Greek” scales en
dc.subject.other chromaticisms en
dc.title Returning to musical universals - Question of equidistant scale en
dc.type Article en
dc.identifier.urn URN:NBN:fi:jyu-2009411231
dc.type.dcmitype Text
dc.identifier.conference ESCOM 2009 : 7th Triennial Conference of European Society for the Cognitive Sciences of Music

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