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Golden Ratio in Music and Instruments

The document discusses several ways that the golden ratio appears in music. It provides examples of composers like Bartok, Satie, and Debussy incorporating the golden ratio into the formal structure and organization of their pieces. It also describes how Stradivarius used the golden ratio in constructing violins and how the percussionist Max Roach incorporated it into his drum solos. Finally, it mentions the band Radiohead's album In Rainbows potentially following the golden ratio.

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Patrícia Mani
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467 views2 pages

Golden Ratio in Music and Instruments

The document discusses several ways that the golden ratio appears in music. It provides examples of composers like Bartok, Satie, and Debussy incorporating the golden ratio into the formal structure and organization of their pieces. It also describes how Stradivarius used the golden ratio in constructing violins and how the percussionist Max Roach incorporated it into his drum solos. Finally, it mentions the band Radiohead's album In Rainbows potentially following the golden ratio.

Uploaded by

Patrícia Mani
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
  • Analysis of Musical Techniques and Historical Context: Explores various musical techniques and historical contexts related to composers like James Tenney, Claude Debussy, and American composer Max Roach, examining their influence on modern music intervals and compositions.

Stradivarius [Link]

page_id=23

Max Roach

James Tenney reconceived his piece For Ann (rising), which consists of up to twelve
computer-generated upwardly glissandoing tones (see Shepard tone), as having each
tone start so it is the golden ratio (in between an equal tempered minor and major sixth)
below the previous tone, so that the combination tones produced by all consecutive
tones are a lower or higher pitch already, or soon to be, produced.

Ernő Lendvai analyzes Béla Bartók's works as being based on two opposing systems,
that of the golden ratio and the acoustic scale,[45] though other music scholars reject that
analysis.[10] In Bartók's Music for Strings, Percussion and Celesta the xylophone
progression occurs at the intervals [Link].[46] The French composer Erik Satie
used the golden ratio in several of his pieces, including Sonneries de la Rose+Croix.
His use of the ratio gave his music an otherworldly symmetry.

The golden ratio is also apparent in the organisation of the sections in the music of
Claude Debussy's Image: Reflections in the Water, in which "the sequence of keys is
marked out by the intervals 34, 21, 13 and 8, and the main climax sits at the phi
position."[46]

The musicologist Roy Howat has observed that the formal boundaries of La mer
correspond exactly to the golden section.[47] Trezise finds the intrinsic evidence
"remarkable", but cautions that no written or reported evidence suggests that Debussy
consciously sought such proportions.[48]

This Binary Universe, an experimental album by Brian Transeau (aka BT), includes a
track entitled "1.618" in homage to the golden ratio. The track features musical versions
of the ratio and the accompanying video (link broken) displays various animated
versions of the golden mean.

Pearl Drums positions the air vents on its Masters Premium models based on the golden
ratio. The company claims that this arrangement improves bass response and has
applied for a patent on this innovation.[49]

[Link]

[Link]

sinfonia nmúmero 5 e 9 beethoven

[Link]

De acordo com o blog Oficina 11 Artes, “A forma do instrumento constitui um exemplo de


desenho do renascimento italiano, com as considerações de equilíbrio de superfícies e de
volumes típicas da época. Aparentemente, as dimensões dos violinos e violoncelos seguem a
relação de proporções matemáticas conhecidas como “proporção áurea”. Stradivarius utilizava
a Razão Áurea na construção de seus violinos e a qualidade superior deles é devido à
localização dos espaços em f na proporção áurea do instrumento.
O compositor francês Claude-Achille Debussy também foi um grande fã da matemática na
música. As divisões de sua composição La mer correspondem exatamente à Proporção Áurea.
Segundo Peter F. Smith, “em ‘Image, Reflections in the Water’ a sequencia de notas pe
marcada pelos intervalos 34, 21, 13 e 8 e o clímax principal se encontra na posição phi”. Esses
intervalos são números da sequência de Fibonacci, em ordem decrescente.

O baterista, percussionista e compositor americano Max Roach utilizava em seus solos curtos a
Razão Áurea, considerando as relações dos tempos de bumbo e caixa. A companhia Pearl, de
baterias, construiu uma versão Master Premium, na qual as saídas de ar do bumbo foram
postas baseadas em phi, alegando uma melhora no som.

Com o aumento do interesse pela Seção Áurea, fãs de diversas bandas começaram a analisar
as músicas. Segundo a Rolling Stone americana, os fãs de Radiohead clamam que, no álbum In
Rainbows, passados 61,8% (ou 1: 1,618) duração, os instrumentos de corda entram e o título
do álbum é cantado ao fundo.

[Link]
id=4bwKykNp24wC&pg=PA169&dq=intitle:Debussy+intitle:in+intitle:Proportion+golden+la-
mer&lr=&as_brr=0&ei=KFKlR5b5O4bOiQGQt82pCg&sig=oBWbHkWkhTG11w_BNdx89SWjQTY
#PPA169,M1

[Link]
nuts-or-just-a-little-nuts-20071120

[Link]

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