On 27.11.2007 (13:44), Trevor Bača wrote: > I wish I knew enough about Medieval music (or Medieval music theory anyway) > to know if the Medieval invetors of "duplum" and "triplum" and "perfectus" > and "imperfectus" and the like ever touched on the topic ... they'd make a > good source to steal from ...
Oh, they did, they did... Not the medieval guys, but their early-renaissance followers, such as Franchino Gaffurio, who, as far as I remember, is the one who does the most thorough presentation of all the different alternatives: http://www.chmtl.indiana.edu/tml/15th/GAFPM4_TEXT.html The principle is an extension of the nomenclature of sesquialtera (3:2) and sesquitertia (4:3) etc., and particularly the names with -partiens and -particularis. As the complexities grow, so do the names: 30:7 is called Quadruplasuperbipartiensseptimas... sesqui-: numerator one higher than denominator subsesqui-: denom. one higher than num. superpartiens: num. contains den. plus a specified part of itself, e.g. supertripartiensquinta = 8:5, supersexcupartiensseptima=13:7, etc. subsuperpartiens: same as the former, only upside down: supersexcupartiensseptima=7:13 etc. Charming system, but not very practical... However ... > (A good example is "prolation" ... which I *think* Ferneyhough borrows from > "prolatio" ... though not sure ... and which makes a great cover term for > tuplets and all forms of duration "scaling" in general.) True -- it is basically the same word as "relation", which makes it a good generic term which still -- while not in general use -- retains some specificity. I'd go for "prolations" for all those odd meters. (No, really, I'd go for writing simple tunes in 4/4 :) Eyolf -- _-^--^=-_ _.-^^ -~_ _-- --_ < >) | | \._ _./ ```--. . , ; .--''' | | | .-=|| | |=-. `-=#$%&%$#=-' | ; :| _____.,-#%&[EMAIL PROTECTED]&#~,._____ _______________________________________________ lilypond-user mailing list [email protected] http://lists.gnu.org/mailman/listinfo/lilypond-user
