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Emmanuel Amiot Modèles algébriques et algorithmes pour la ...

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2.1. Tables. L<strong>et</strong> us begin with a computer program for the computation of MSS on a given T . It is convenient<br />

to put the values of the 12 elements of T in some table:<br />

T = {t0, t1, . . . t11}<br />

To do this, take any table of a temperament in cents and divide by 1200 to g<strong>et</strong> the ai’s. This will be the input<br />

of the function that computes the MSS. Now we loop through the twelve major scales:<br />

For α = 0 to 11, compute the scale Aα and its first Fourier coefficient cα:<br />

<br />

<br />

Aα = (ai = t (ki+α) mod 12)i=0...6 cα = 1<br />

6<br />

e<br />

7<br />

2iπ(ak−k/7)<br />

<br />

<br />

<br />

Lastly, find the minimum and the maximum in those 12 values; subtract the one from the other, and take the<br />

inverse11 of the result:<br />

1<br />

MSS(T ) =<br />

maxα(cα) − minα(cα)<br />

Fig. 4 gives this algorithm in Mathematica R○ , for scales with any number n of notes.<br />

fou1gamme : Modulen Lengthgamme,<br />

N<br />

2 Π gamme 2 Π k<br />

<br />

.Table n , k, 0, n 1<br />

n<br />

<br />

consistencyscale : ModulemajScales, top, bottom,<br />

majScales Tablefou1<br />

scaleSortr 0, 2, 4, 5, 7, 9, 11 1 mod 12 . 0 12,<br />

r, 0, 11;<br />

top maxmajScales; bottom minmajScales;<br />

1<br />

<br />

, top, bottom<br />

top bottom<br />

Figure 4. A program for computing MSS<br />

In Table 5, consecutive fifths are given in cents from the origin; so in program 4, the variable gamme had to be<br />

divided by 1200. All origins (A) have been s<strong>et</strong> to the same value, 0. Of course, different origins can be given<br />

for each tuning, but this is equivalent to some rotation on the circle of notes; and the quantity MSS, being<br />

geom<strong>et</strong>ric in essence, is invariant under such transformations. 12<br />

I selected only a few elements in the extensive family of meantone tunings. The Neidhardt tuning used here is<br />

the 1732 one, as quoted by Lehmann in his answer to Lindley and Ortgies’s acerbic refutation (see [9]). Lindley’s<br />

tunings are tabu<strong>la</strong>ted from the same source: the first two are built respectively with sevenths of Pythagorean<br />

and syntonic comma, and the <strong>la</strong>st is the tuning used in the Michaelstein conference (this one found favor with<br />

Lehman). Simi<strong>la</strong>rly I added the Sparschuh tuning and the previous Lehman proposition (dated 1994) as possible<br />

comp<strong>et</strong>itors, other interpr<strong>et</strong>ations of the scribble being of course of particu<strong>la</strong>r interest.<br />

I hope that through the process of chain-quotation, the exact values of these tunings have been preserved. As<br />

the computations have been carried through the professional software Mathematica R○ , with 64 bit arithm<strong>et</strong>ic,<br />

we can hope to be rid of the rounding errors that blemished several controversies, and that resulted from<br />

incompatible unit conventions and inadequate software (Excel R○ ).<br />

It is quite clear on these values that LT achieves by far the best value of MSS, except for Werckmeister IV 13<br />

which reaches almost equal value. It is interesting to see which c<strong>la</strong>ssical tunings figure well in this table:<br />

Kirnberger’s are in good stand, so is Valloti, but it is a little surprising that the Pythagorean tuning supersedes<br />

11In order to facilitate comparison.<br />

12 Incidentally, it is also invariant under inversion (which amounts to reversing the lists), as the inverse of any major scale is also<br />

a major scale.<br />

13 I wonder wh<strong>et</strong>her this temperament ever had practical importance – who ever managed to tune a 196/139 interval by ear ?<br />

k=0<br />

7

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