Revisión afinatoria de las bases naturales de la armonía
Humanity has had diverse musical practices in its history, in accordance with the different cultural developments of the various countries and regions of our planet. In this research project article, we will exclusively consider the melodic gradual systems or alphabets employed by them, leaving apar...
- Autores:
-
Yepes Londoño, Gustavo
- Tipo de recurso:
- Fecha de publicación:
- 2023
- Institución:
- Universidad EAFIT
- Repositorio:
- Repositorio EAFIT
- Idioma:
- spa
- OAI Identifier:
- oai:repository.eafit.edu.co:10784/33450
- Acceso en línea:
- https://hdl.handle.net/10784/33450
- Palabra clave:
- basic tone
lengths
frequencies
harmonic tones
intervals
sonido generador
longitudes
frecuencias
armónicos
intervalos
- Rights
- License
- Copyright © 2023 Gustavo Yepes Londoño
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dc.title.spa.fl_str_mv |
Revisión afinatoria de las bases naturales de la armonía |
title |
Revisión afinatoria de las bases naturales de la armonía |
spellingShingle |
Revisión afinatoria de las bases naturales de la armonía basic tone lengths frequencies harmonic tones intervals sonido generador longitudes frecuencias armónicos intervalos |
title_short |
Revisión afinatoria de las bases naturales de la armonía |
title_full |
Revisión afinatoria de las bases naturales de la armonía |
title_fullStr |
Revisión afinatoria de las bases naturales de la armonía |
title_full_unstemmed |
Revisión afinatoria de las bases naturales de la armonía |
title_sort |
Revisión afinatoria de las bases naturales de la armonía |
dc.creator.fl_str_mv |
Yepes Londoño, Gustavo |
dc.contributor.author.spa.fl_str_mv |
Yepes Londoño, Gustavo |
dc.contributor.spa.fl_str_mv |
Universidad EAFIT |
dc.subject.keyword.eng.fl_str_mv |
basic tone lengths frequencies harmonic tones intervals |
topic |
basic tone lengths frequencies harmonic tones intervals sonido generador longitudes frecuencias armónicos intervalos |
dc.subject.keyword.spa.fl_str_mv |
sonido generador longitudes frecuencias armónicos intervalos |
description |
Humanity has had diverse musical practices in its history, in accordance with the different cultural developments of the various countries and regions of our planet. In this research project article, we will exclusively consider the melodic gradual systems or alphabets employed by them, leaving apart the rhythmic, formal, polyphonic, instrumental, and other aspects. Some nations based their repertoire on pentatonic scales, hexatonic (whole tones) and heptatonic ones, pure or using semitonal chromatic added tones like in the medieval European examples of musica ficta; the Western music advanced from close to distant Chromaticism, since the Classic period to the end of Romanticism. In the twentieth century, some composers used microtones like those produced by the tone division by 3, 4 or even higher divisor numbers. In the Western cultures originated or influenced by Europe, some modern composers used even a perceptually continuous not discrete spectrum, not only by means of glissandi but also by introducing some electronic devices like the theremin or some synthesizers. Another added purpose we have is offering to music teachers and students a significant contribution to the teaching and learning of that musical common practice, by reaching better explanations and proofs of the basic laws and procedures usually prescribed in books and classes of Solfege, Harmony, and Counterpoint. Those conclusions should be based on the inference realized from the repertoire of the theoretically studied period to explain the Music as art and esthesis; but also, on the prior physical scientific bases that explain the preexisting materials used by the artists to create their works. |
publishDate |
2023 |
dc.date.issued.none.fl_str_mv |
2023 |
dc.date.available.none.fl_str_mv |
2024-02-19T18:43:26Z |
dc.date.accessioned.none.fl_str_mv |
2024-02-19T18:43:26Z |
dc.date.none.fl_str_mv |
2023 |
dc.type.eng.fl_str_mv |
article info:eu-repo/semantics/article publishedVersion info:eu-repo/semantics/publishedVersion |
dc.type.coarversion.fl_str_mv |
http://purl.org/coar/version/c_970fb48d4fbd8a85 |
dc.type.coar.fl_str_mv |
http://purl.org/coar/resource_type/c_6501 http://purl.org/coar/resource_type/c_2df8fbb1 |
dc.type.spa.spa.fl_str_mv |
Artículo |
status_str |
publishedVersion |
dc.identifier.issn.none.fl_str_mv |
2346-4879 2346-4736 |
dc.identifier.uri.none.fl_str_mv |
https://hdl.handle.net/10784/33450 |
dc.identifier.doi.none.fl_str_mv |
10.17230/ricercare.2023.16.1po |
identifier_str_mv |
2346-4879 2346-4736 10.17230/ricercare.2023.16.1po |
url |
https://hdl.handle.net/10784/33450 |
dc.language.iso.none.fl_str_mv |
spa |
language |
spa |
dc.relation.isversionof.none.fl_str_mv |
https://publicaciones.eafit.edu.co/index.php/ricercare/article/view/7496 |
dc.relation.uri.none.fl_str_mv |
https://publicaciones.eafit.edu.co/index.php/ricercare/article/view/7496 |
dc.rights.eng.fl_str_mv |
Copyright © 2023 Gustavo Yepes Londoño |
dc.rights.coar.fl_str_mv |
http://purl.org/coar/access_right/c_abf2 |
dc.rights.accessrights.eng.fl_str_mv |
openAccess |
dc.rights.acceso.spa.fl_str_mv |
Libre acceso |
rights_invalid_str_mv |
Copyright © 2023 Gustavo Yepes Londoño openAccess Libre acceso http://purl.org/coar/access_right/c_abf2 |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.spa.fl_str_mv |
Universidad EAFIT |
dc.source.spa.fl_str_mv |
Ricercare, No. 16 (2023) |
institution |
Universidad EAFIT |
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https://repository.eafit.edu.co/bitstreams/cddadc44-f49a-40e0-8e4b-02763d990d43/download https://repository.eafit.edu.co/bitstreams/90019420-4312-450a-974f-396ab58e061b/download |
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Universidad EAFITYepes Londoño, Gustavo20232024-02-19T18:43:26Z20232024-02-19T18:43:26Z2346-48792346-4736https://hdl.handle.net/10784/3345010.17230/ricercare.2023.16.1poHumanity has had diverse musical practices in its history, in accordance with the different cultural developments of the various countries and regions of our planet. In this research project article, we will exclusively consider the melodic gradual systems or alphabets employed by them, leaving apart the rhythmic, formal, polyphonic, instrumental, and other aspects. Some nations based their repertoire on pentatonic scales, hexatonic (whole tones) and heptatonic ones, pure or using semitonal chromatic added tones like in the medieval European examples of musica ficta; the Western music advanced from close to distant Chromaticism, since the Classic period to the end of Romanticism. In the twentieth century, some composers used microtones like those produced by the tone division by 3, 4 or even higher divisor numbers. In the Western cultures originated or influenced by Europe, some modern composers used even a perceptually continuous not discrete spectrum, not only by means of glissandi but also by introducing some electronic devices like the theremin or some synthesizers. Another added purpose we have is offering to music teachers and students a significant contribution to the teaching and learning of that musical common practice, by reaching better explanations and proofs of the basic laws and procedures usually prescribed in books and classes of Solfege, Harmony, and Counterpoint. Those conclusions should be based on the inference realized from the repertoire of the theoretically studied period to explain the Music as art and esthesis; but also, on the prior physical scientific bases that explain the preexisting materials used by the artists to create their works.La humanidad ha tenido una práctica musical diversa a lo largo de su Historia, de acuerdo con los diferentes períodos de ella pero así mismo con los también disímiles desarrollos culturales en los diversos países o regiones del planeta. En este artículo que da cuenta de un proyecto nuestro de investigación, consideraremos sólo las frecuencias básicas relativas a lo melódico y lo armónico del sistema tonal, especial pero nó exclusivamente, dejando a un lado los aspectos rítmicos, formales, contrapuntísticos, organológicos y demás. Culturas varias basaron sus repertorios en escalas pentáfonas, otras en diatónicas heptáfonas, a veces con el uso de algunos romatismos semitonales sobre esas diatonías (tonos y semitonos), como en los sonidos de la musica ficta; más tarde, el cromatismo cercano y extenso de los períodos clásico y romántico; vinieron luego escalas que añadían cromatismos aún más pequeños que el semitono: tercios, cuartos de tono y otras opciones. En Occidente, con su cultura de bases europeas sobre todo, se llegó inclusive, en la modernidad, hasta el uso de un espectro continuo, en cuanto no discreto en su percepción, tanto por el uso de glissandi en algunos casos, pero también por el recurso de medios instrumentales electrónicos como el conocido theremín o ciertos sintetizadores, valgan como ejemplos. Otro propósito que tenemos es el ofrecer contribuír significativamente al mejor desempeño en la enseñanza y aprendizaje de la Armonía tonal especialmente, mediante el logro de que profesores y estudiantes puedan explicar y entender mejor las normas o leyes que suelen enunciarse para la práctica armónica correspondiente a la etapa cronológica comprendida entre finales de los siglos XVI y XIX; no sólo mediante la inferencia realizada sobre el repertorio del período acerca del cual se teoriza y que explica la música como arte y estesis, sino también sobre esas bases físicas científicas naturales anteriores a tales elecciones creativas propias de estilos y períodos temporales, que explican los materiales preexistentes usados por el artista para crear sus obras.application/pdfspaUniversidad EAFIThttps://publicaciones.eafit.edu.co/index.php/ricercare/article/view/7496https://publicaciones.eafit.edu.co/index.php/ricercare/article/view/7496Copyright © 2023 Gustavo Yepes LondoñoopenAccessLibre accesohttp://purl.org/coar/access_right/c_abf2Ricercare, No. 16 (2023)Revisión afinatoria de las bases naturales de la armoníaarticleinfo:eu-repo/semantics/articlepublishedVersioninfo:eu-repo/semantics/publishedVersionArtículohttp://purl.org/coar/version/c_970fb48d4fbd8a85http://purl.org/coar/resource_type/c_6501http://purl.org/coar/resource_type/c_2df8fbb1basic tonelengthsfrequenciesharmonic tonesintervalssonido generadorlongitudesfrecuenciasarmónicosintervalosRicercare16115ORIGINALrevision-afinatoria.pdfTexto completoapplication/pdf742619https://repository.eafit.edu.co/bitstreams/cddadc44-f49a-40e0-8e4b-02763d990d43/downloadf7a3ed88a85c44745f6dfe6b1cb0fcf1MD51THUMBNAILminaitura-ricercare_Mesa de trabajo 1.jpgCarátulaimage/jpeg182034https://repository.eafit.edu.co/bitstreams/90019420-4312-450a-974f-396ab58e061b/downloada0d2ce2dd3fc2bd2c5aa7702f779f7ceMD5210784/33450oai:repository.eafit.edu.co:10784/334502024-02-21 11:33:34.703open.accesshttps://repository.eafit.edu.coRepositorio Institucional Universidad EAFITrepositorio@eafit.edu.co |