[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki42\/brief-music-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/all2en\/wiki42\/brief-music-wikipedia\/","headline":"BRIEF Music – Wikipedia","name":"BRIEF Music – Wikipedia","description":"before-content-x4 from Wikipedia, L’Encilopedia Libera. after-content-x4 The BRIEF Music It is a short treatise on music, written by Descartes in","datePublished":"2019-06-01","dateModified":"2019-06-01","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki42\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/all2en\/wiki42\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/9\/95\/Compendium_musicae.svg\/131px-Compendium_musicae.svg.png","url":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/9\/95\/Compendium_musicae.svg\/131px-Compendium_musicae.svg.png","height":"73","width":"131"},"url":"https:\/\/wiki.edu.vn\/all2en\/wiki42\/brief-music-wikipedia\/","wordCount":2794,"articleBody":"     (adsbygoogle = window.adsbygoogle || []).push({});before-content-x4from Wikipedia, L’Encilopedia Libera.        (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4The BRIEF Music It is a short treatise on music, written by Descartes in 1618 and dedicated to his friend Isaac Beeckman. The reason why Descartes studies the sound is to understand in a wider way how music manages to move us. He assumes that he can understand this property from the examination that makes the fundamental characteristics that make the sound moving, or the duration and tone. He is of the opinion that a simple mathematical analysis of the consonance may provide us with the fundamental notions on the way of producing sound and therefore on the nature of music.For Descartes every pleasant object is perceived as simple, the harmonic series are simpler than the geometric series and therefore to be preferred. He translates musical relationships into line segments in order to make them visible to the eye and therefore intuitively clearer: Descartes assumes that the simplicity of listening is reflected in visual simplicity, thus favoring the visual perception of line segments with respect to mathematical relationships.        (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4With simple mathematical operations on the Descartesi lines derives the consonances. The procedure consists of subsequent bises of a rope AB first in C , with the origin of the eighth ( first \/ 2 ) {Displaystyle (1\/2)} : A C – A B {displaystyle AC-AB} , then in D , intermediate point between C It is B , with the origin of the segments And It is AD generating properly the fifth ( 2 \/ 3 ) {Displaystyle (2\/3)} , while from segments AD It is AB drift accidentally the fourth        (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4( 3 \/ 4 ) {Displaystyle (3\/4)} , DB . Descartes stops in the bisection of the straight line to the letter AND , the reason lies in the fact that a further division in F would give rise to the greater tone ( 8 \/ 9 ) {Displaystyle (September 8)} : A C – A F {displaystyle AC-AF} by al requests ( 9 \/ ten ) {Displaystyle (9\/10)} : A F – A AND {displaystyle AF-AE} , both dissonant. Descartes defines the Semitono report as 15 \/ 16 {Displaystyle 15\/16} resuming the Tsarlino data, however if he had continued in the division of the fee he would have come to find the point G and would have obtained different values, A C \/ A G = 16 \/ 17 {displaystyle AC\/AG=16\/17} It is A G \/ A F = 17 \/ 18 {displaystyle AG\/AF=17\/18} . In the work of Descartesio there is also a whole part dedicated to the relationship between low notes and high notes. In particular, it claims that The sound is to the sound as the rope is on the rope , since a shorter rope is contained in a longer rope, in the same way the highest notes are contained in the lower ones, for this reason the lowest note is the most important.Also, like Plato in I fear , Descartes claims that the high notes have more speed of the low notes.Descartes also observed that each note contains its eighth, a phenomenon that had already mentioned Aristotle.The explanation for which the fourth interval turns out to be the shadow The fifth for Descartes has a simple geometric explanation. If you take a rope And And it is pinched it is also obtained its eighth, then And It also resounds If . Now the latter note is actually a fourth considered starting from the note played by DB . Descartes also addresses the problem of Tsarlino scale; He is aware of the meeting of the Tsarlino scale referring to the interval of third minor re-Fa and that of fifth re-la, both staggered of a tuning paragraph equal to 80 \/ 81 {Displaystyle 80\/81} . Descartes proposes to assign two slightly different values \u200b\u200bto the King, king and king*, the second lower of the first of a harmony paragraph. In this way the consonances are maintained, and the tone is stabilized by mobilizing one of the notes. The mobilization of the king, of the do and of all the other five notes means that the octave was no longer divided into 12 parts, but in 19. In this way, mathematical precision can be maintained, but at the price of an accrescribed complexity of execution. The explanation of Descartes on the consonance is similar to that of Galileo.The two ropes A It is B are between them in the relationship of 3 : first {Displaystyle 3: 1} and the ropes A It is C in the relationship of 3 : 2 {Displaystyle 3: 2} . With A It is B are set in motion at the same time, A will make an oscillation while B He will make three. Follows that when A he begins his second oscillation, B It will begin its fourth, and when A the third begins, B The seventh begins. In this way the two ropes begin each oscillation together with a moment distance. Now if A It is C are set in motion at the same time, A will have completed an oscillation while C He is already halfway through his second, so C will not be able to start again with A in the second moment, but only in the third. So while the ropes A It is C they only begin at the intervals of two moments, A It is B They leave with every moment, this means that the sounds mix better and produce a sweeter harmony. Descartes develops the idea that the sweetness of the consonances depends on the frequency with which the beats produced by the sound bodies coincide at regular intervals. However, Descartes argues that mathematical theory cannot provide a criterion of aesthetic quality, a criterion that depends exclusively on the tastes of the listener. BRIEF Music , in Ren\u00e9 Descartes, Oeuvres , flight. X, Paris, Editions du Cerf, 1897-1913 BRIEF Music , edited by P. Iandolo, Bari, Stilo Editrice, 2008 ISBN 88-87781-82-6 Paolo Gozza, A Renaissance mathematics: Descartes’ music , in \u00abIl Saggiatore Musical\u00bb, 2, 1995, pp. 237-257] Natacha Fabbri, “De l’utilit\u00e9 de l’harmonic”. Filosofia, Scienza e music in Mersenne, Descartes from Galileo , Pisa, Edizioni della Normale, 2008 ISBN 978-88-7642-321-5        (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki42\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki42\/brief-music-wikipedia\/#breadcrumbitem","name":"BRIEF Music – Wikipedia"}}]}]