equal temperament


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equal temperament:

see tuning systemstuning systems,
methods for assigning pitches to the twelve Western pitch names that constitute the octave. The term usually refers to this procedure in the tuning of keyboard instruments.
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References in periodicals archive ?
I wish that Doug Leedy had devoted more of his response to explaining his enigmatic statement about equal temperaments being "scientific" and "inhuman.
Finally, Zaragoza considers equal temperament with 12 parts in each octave (pp.
2 [June 2013]: 35-43) provides some intermediary steps to applying logarithms to musical ratios, and it also has some remarks on Euler's attitudes about equal temperament that are not found in the book's chapter 9.
2) Nonetheless, it is my belief that even in this nearly embryonic state expanded equal temperament is actually the most valuable form of microtonalism, and that it carries the most potential for musical innovation.
with Crosses of Fire) which was commissioned by the Michigan Music Teachers Association, and Sun Dogs for a new CD by the percussion duo, Equal Temperament (Eric and Stacey Jones).
14) 'To find perfection in all places' on the vihuela - that is, not to be bound by the constraints of forbidden semitones - can hardly mean anything other than that the fingerboard of the vihuela was divided into equal semitones, even though none of the vihuela collections and few theorists refer explicitly to equal temperament, but summarily mention only that 'all semitones are singable'.
In addition, the argument between Rameau and Bollioud-Mermet was not exactly as reported in note 107 on page 202; the event is clarified in Albert Cohen, 'Rameau, Equal Temperament, and the Academy of Lyon: a Controversy Revisited', French Musical Thought 1600-1800, ed.
Recent years have witnessed an increasing number of superb books devoted to historical performance practice, some very specific such as Ross Duffin's How Equal Temperament Ruined
This indicates that only equal temperament will be considered here.
In equal temperament (ET), twelve fifths are narrowed so that they equal seven octaves, and at the same time all twelve semitones in each octave are made equidistant.
David Loberg Code challenged the hegemony of twelve-tone equal temperament in theory pedagogy.
Here he follows Charles Rosen in considering equal temperament as central to "the language of the new classical style" (p.