Talk:Pitch (music)
From Wikipedia, the free encyclopedia
| WikiProject Music Theory | ||||||||||
|
||||||||||
 Archives |
|---|
|
Contents |
[edit] Not sure about some information
I don't think the information contained within the first paragraph of the first section is very accurate. It is not the difference that gets coarser in low frequency, it's the ratio delta(f)/f. The progression of pitch percepion doesn't follow the linear constant of Weber's law because the human ear is more sensible for the frequencies of the human speech. See the following reference. It's a word document in French, but it's quite interesting. [1]
[edit] Merge from Definite pitch
I propose that we merge the info from the (so far unsourced) stub Definite pitch into a section here called "Definite and indefinite pitch" where we can talk about different sorts of musical tones such as percussion notes of indefinite pitch, etc. I intend to do it soon if no objections appear. If someone objects that it also applies to pitch (psychophysics), I'd say let's mention it there, too. It doesn't rate its own article, I think, unless someone can point out coverage about it in secondary sources sufficient to make it independently notable as a topic. Dicklyon (talk) 16:17, 15 December 2008 (UTC)
- Support - This article is still comfortably small at around 21KB. __Just plain Bill (talk) 00:18, 16 December 2008 (UTC)
[edit] A new pitch standard?
As I have been in the music businnes as singer for several years now, there has been a significant change in the terms of the orchestra and voice standards pitch. As mesaured in Bayreuth,Germany and in several other german and austrian opera houses in 2006 and 2007 by several singers and instrumentalists, the pich set as standard at 440 Hz is no longer in use. Of course, the individuals, who took the time to hear and tried to determine the standard pitch of the evening, are not professional scientists,but musicians, who had to allign the pitch of their instrument for the orchestra. As determined by these individuals, the pitch was set at the beginning of the piece( opera in most cases) between 443 Hz and 445 Hz. When the piece of music (symphony and opera) was played, the pitch went on to high as 448Hz and 450HZ! So if that is true, then are we,the singers in serious trouble. We prepare our body for at least 2 weeks before the preimere to act somewhat automatic in terms of singing tecnique, when standing on stage and sing on the highest possible art level. When this transition of pitch occours, we are not able to control our act on stage but feel forced to move our full attention to music and try to master the pitch transition on the stage.
So, with that in mind, there is a reason for singers, who are preparing to work on opera like Rheingold or the Flying Dutchman,to prepare yourself - to begin their routine on at least 445Hz!
Tomy —Preceding unsigned comment added by 91.129.63.131 (talk) 15:08, 17 December 2008 (UTC)
[edit] Another Ogg file
Can anyone please upload a 261.62Hz (Middle C)audio file? Vikky2904 (talk) 10:41, 6 January 2009 (UTC)
[edit] Improving references
I'd like to see the parenthetical references to 'Samson 1977', 'Malm 1967', 'Sachs & Kunst 1962' and 'Burns 1999' changed into the cite book format and introduced into the main References section with relevant page numbers placed as inline citations so they show up in Notes. Anybody know the titles of all of these books? I tried to look up Samson 1977 and fished around in Jim Samson's Music in Transition but wasn't fully satisfied I was seeing valid support from Jim for the statements made here about Scriabin, hexachords, Bartók, Casella, etc. Let me poll the other editors here before I try and figure out all the books so mentioned. Binksternet (talk) 22:25, 1 February 2009 (UTC)
- The "Samson" paragraphs have nothing to do with Repetition pitch, so I think they might well be excised. Repetition pitch might be merge-able with definite and indefinite pitch, but if not should just go to See also: It's also a bit unclear as written... Sparafucil (talk) 07:56, 3 April 2009 (UTC)
- I'm all for clarity, to the point of taking out whole sections that fail to deliver their message. Binksternet (talk) 15:12, 3 April 2009 (UTC)
[edit] History of pitch standards in Western music
From 19th and 20th century standards: "The most vocal opponents of the upward tendency in pitch were singers..." I loled. Hard. Seriously though, I'd really appreciate it if an expert could expand the coverage of the history of pitch standards as it relates to specific composers. While I'm dreaming, I'd also like to see a discussion of the history of pitch standards outside of the western tradition. Gyro Copter (talk) 15:41, 1 April 2009 (UTC)
- See the note above by Tomy. Though I suppose that playing at a higher pitch is harder for the musicians as well (sore fingers, numb lips, etc.). SharkD (talk) 09:10, 8 June 2009 (UTC)
