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Small and Large Intervals Produced by Pélog Sarons of Central Java
Explanatory accompaniment to Small and Large Intervals Produced by Pélog Sarons of Central Java.xlsx
Measurements of UCLA khong wong yai A4 420 Hz (notated as A3) with unadjusted and adjusted cords
Accompanies Rahn, J. (2018). 'UCLA khong wong yai A4 420 Hz (notated as A3) with unadjusted and adjusted cords.wav.'
Remodeling Southeast Asian Tunings
Since the pioneering reports of Ellis (1884, 1885) and Stumpf (1901), studies of Southeast Asian tunings have been methodologically problematic. Abstract numbers, empirical measurements, indigenous claims, and perceptual ...
Clarity, Impurity, and Discant Structure in Mesopotamian Music
According to a widely accepted interpretation, the “unclear” (la-zakû) intervals of Mesopotamian tuning were tritones, which became “clear” (zakû) intervals—in modern terms, perfect 5ths or 4ths—by tightening or loosening ...
bonangpanerussl with sines
12 bonang panerus slendro tones of gamelan Kyai Parijata in ascending order, as posted at http://www.marsudiraras.org/gamelan/. Each bonang panerus slendro tone is followed by a 2-second sine tone having the same frequency, ...
bonangbarungpl with sines
14 bonang barung pelog tones of gamelan Kyai Parijata in ascending order, as posted at http://www.marsudiraras.org/gamelan/. Each bonang barung pelog tone is followed by a 2-second sine tone having the same frequency, which ...
Spectra of Bonang Panerus Slendro Tones
See 'Notes to Accompany Gamelan Spectra'
Anomalous bonangbarung frequencies and pitches
See "Notes to Accompany 'Anomalous bonangbarung frequencies and pitches'".
Frequencies and frequency ratios in 3 Thai ensembles
Pairs of Interval Classes in Southeast Asian Tunings
Construed non-numerically (Rahn 2011, 2012, 2013), the following normal-Forte-order formulations accurately model southeast Asian fixed-frequency tunings: sléndro 11111…, the ‘usual’ pentatonic 22323…, Thai pentatonic ...
Micro-Structure, Macro-Structure, and Genre in ’Are’are Solo Polyphonic Raft Panpipe Music
In his classic account of ’Are’are solo polyphonic raft panpipe music, Hugo Zemp (1981a, 1981b, 2001) has drawn attention to pulsations within individual tones, non-legato articulation, segmental (‘Buchstaben’) form, and ...
Five Stages of Roughness between 600 and 500 cents