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| author | Chris Cannam |
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| date | Fri, 13 Oct 2017 09:23:49 +0100 |
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--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/onto/tm/doc/.svn/text-base/template.html.svn-base Fri Oct 13 09:23:49 2017 +0100 @@ -0,0 +1,291 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML+RDFa 1.0//EN" "http://www.w3.org/MarkUp/DTD/xhtml-rdfa-1.dtd"> +<html + xmlns="http://www.w3.org/1999/xhtml" + xmlns:mvcb="http://webns.net/mvcb/" + xml:lang="en" +> + + <head> + <title>Temperament Ontology: Temperament Ontology</title> + <meta http-equiv="content-type" content="text/xhtml+xml; charset=utf-8" /> + <link rel="mvvb:generatorAgent" type="application/rdf+xml" title="DOAP" href="http://rdfohloh.wikier.org/project/specgen" /> + <!--<link rel="stylesheet" type="text/css" href="http://example.org/style.css" />--> + <link rel="stylesheet" type="text/css" href="style.css" /> + </head> + + <body> + + <h1 id="title">The Temperament Ontology</h1> + + <!--<h2 id="subtitle">LONG Temperament </h2>--> + + <h3 id="mymw-doctype">Working Draft — 18 Dec 2009</h3> + + <dl> + + <dt>This version:</dt> + <dd><a href="http://purl.org/ontology/temperament/draft1-20091218/">http://purl.org/ontology/temperament/draft1-20091218/</a></dd> + + <dt>Latest version:</dt> + <dd><a href="http://purl.org/ontology/temperament/">http://purl.org/ontology/temperament/</a></dd> + + <dt>Last Update: 18. Dec. 2009.</dt> + <dd>Date: 18. Dec. 2009.</dd> + + <dt>Editors:</dt> + <dd>Gyorgy Fazekas, Centre for Digital Music Queen Mary University of London</dd> + + <dt>Authors:</dt> + <dd>Gyorgy Fazekas, Dan Tidhar, Centre for Digital Music Queen Mary University of London</dd> + + <dt>Contributors:</dt> + <dd>See <a href="#acknowledgements">acknowledgements</a></dd> + + </dl> + + <p class="copyright">You are granted a license to use, reproduce and create derivative works of this document under <a rel="license" href="http://creativecommons.org/licenses/by/3.0/">Creative Commons</a>.</p> + + <!-- ===================================================================== --> + + <hr /> + + <h2 id="abstract">Abstract</h2> + <p> + The temperament ontology can be used to give a detailed description of the tuning of an instrument. + It is developed in the OMRAS2 project, and intended to be used in conjunction + with the <em><a href="http://purl.org/ontology/mo/">Music Ontology</a></em>, + for example, when describing the tuning that was used in a particular harpsichord recording. + </p> + + <h2 id="status">Status of this Document</h2> + <p> + <strong>This is a work in progress!</strong> This document is changing + on a daily if not hourly basis. Comments are very welcome, please send + them to <a href="mailto:gyorgy.fazekas@elec.qmul.ac.uk">gyorgy.fazekas@elec.qmul.ac.uk</a>. Thank you. + </p> + + <h2 id="contents">Table of Contents</h2> + <ol id="toc"> + <li><a href="#intro">Introduction</a> + <ol> + <li><a href="#s11">About instrument tuning</a></li> + <li><a href="#s12">An open-ended temperament description model</a></li> + <li> + <a href="#s13">The many ways of describing temperaments</a> + <ol> + <li><a href="#s131">The Circle of Fifths</a></li> + <li><a href="#s132">Deviation from Equal Temperament</a></li> + </ol> + </li> + </ol> + </li> + <li><a href="#sec-glance">Temperament ontology at a glance</a></li> + <li> + <a href="#overview">Temperament ontology overview</a> + <ol> + <li><a href="#s31">Example</a></li> + </ol> + </li> + <li><a href="#reference">Cross-reference for Temperament classes and properties</a></li> + </ol> + + <h3>Appendixes</h3> + <ol id="appendix"> + <li><a href="#references">Normative References</a></li> + <li><a href="#changes">Changes in this version</a> (Non-Normative)</li> + <li><a href="#acknowledgements">Acknowledgements</a> (Non-Normative)</li> + </ol> + + <hr /> + + <!-- ===================================================================== --> + + <h2 id="intro">1 Introduction</h2> + + <p>The temperament ontology aims to describe instrument tuning systems and their particularities. + It may also be used to characterise a (potentially unknown) temperament that was used when tuning an + instrument for a particular performance or recording. <br><br> + At this stage the ontology is far from exhaustive. We primarily deal with + temperaments in western tonal music with an emphasis on tuning keyboard instruments. + One important objective is to be able to describe arbitrary temperaments, + or express the results of automatic temperament extraction from audio recordings. + </p> + + <h3 id="s11">1.1 About instrument tuning</h3> + + <p>Tuning an instrument consists of choosing the frequency values and spacing (or ratio) of pitches that are used. + Pure (just) intervals of pitches correspond to whole number ratios of their frequencies, however + these ratios are not compatible with each other as they arranged in scales (the way octaves are divided into discrete pitch classes) in western music. + For example, it is not possible to fit twelve pure fifths (3:2)^12 into seven octaves (2:1)^7. The difference + is called the Pythagorean or Ditonic comma (23.5 cents). This difference has to be + tempered out ---that is, some (or all) fifths has to be mistuned slightly in order to + fit them. There are many tuning systems. Most commonly, they differ in the way they compromise + pure intervals to solve this problem. </p> + + + <h3 id="s12">1.2 An open-ended temperament description model</h3> + <p>There is no mutual agreement in the literature on the description or classification + of temperaments. Therefore, in this ontology we do not impose a + hierarchy between types of temperaments. We define an opaque + top-level temperament concept. Subclasses of this concept can be used + in describing individual temperaments, if necessary, using multiple class memberships. + Since there is more than one way to associate tuning systems with their properties, + we treat temperament descriptions as concepts as well, + and use reification to keep the model open and extensible.</p> + + <p><center><img src="TemperamentDescription.png" alt="Using the Circle of Fifths to describe a temperament." width="850"> + <br><br>Figure 1. Overview of the temperament ontology.</center></p> + + + <h3 id="s13">1.3 The many ways of describing temperaments</h3> + + <p>Temperaments can be characterised in lots of different ways. + The most common methods are using either the circle of fifths or + give the pitch deviations from equal temperament. We define these + descriptions as concepts in the ontology, however, other descriptions + may be used and defined in the future. + (For example, one might find it convenient to express the same information using the circle of fourths.)</p> + + <h4 id="s131">1.3.1 The Circle of Fifths</h4> + The circle of fifths has several uses in music theory. + It shows the harmonic relationships of the twelve major and minor keys. + It can also be seen as a circle of the corresponding pitch class intervals, + such as (C-G), (G-D), (D-A) etc... If we go around the circle using pure fifth + intervals, it wouldn't close. What remains is the Pythagorean comma. + Hence, it is often used to describe temperaments by showing how + the comma is distributed among the intervals to close the circle. + (Note that there are several types of commas related to different + tuning problems. These are defined in the ontology.) + + <!--<p><center><img src="CircleOfFifths.png" alt="Using the Circle of Fifths to describe a temperament." width="350"></center></p>--> + + <p>...</p> + + <h4 id="s132">1.3.2 Deviations from Equal Temperament</h4> + + <p>In equal temperament an octave is divided into twelve equal intervals. + As a result only octaves are pure. All other intervals are impure, and the + deviation from pure is different in case of each interval. Since equal temperament + has become very common, other temperaments are often described by + the frequency deviations (in cents) of each pitch class from the + corresponding pitch class in equal temperament.</p> + + <!-- ===================================================================== --> + + <h2 id="sec-glance">2. Temperament ontology at a glance</h2> + + <p> + An alphabetical index of Temperament terms, by class (concepts) and by property + (relationships, attributes), are given below. All the terms are hyperlinked + to their detailed description for quick reference. + </p> + + <!-- The list of classes and properties goes here --> + %s + <!-- End of the terms list --> + + <p>...</p> + + <!-- ===================================================================== --> + + <h2 id="overview">3. Temperament ontology overview</h2> + + <!--<p>The Temperament definitions presented here are ...</p>--> + + <h3 id="s31">3.1. Example</h3> + + <p>Here is a very basic example describing a pitch class interval in the Valotti temperament using the circle of fifths.</p> + + <div class="example" style="white-space: pre-wrap;"> + <pre> + @prefix rdf: <http://www.w3.org/1999/02/22-rdf-syntax-ns#>. + @prefix rdfs: <http://www.w3.org/2000/01/rdf-schema#>. + @prefix xsd: <http://www.w3.org/2001/XMLSchema#> . + @prefix tm: <http://purl.org/ontology/temperament/> . + @prefix pc: <http://purl.org/ontology/temperament/pitchclass/> . + + :ValottiTemperament a tm:WellTemperament; + tm:description :ValottiDescription1 . + + :ValottiDescription1 a tm:CircleOfFifths; + tm:interval [ + a tm:FifthInterval ; + tm:deviation [ + a tm:IntervalDeviation ; + tm:comma tm:PythagoreanComma ; + tm:value "-0.16667"^^xsd:float ; + rdfs:label "-1/6" + ] ; + tm:lower pc:C ; + tm:upper pc:G ] ; + tm:interval [ # the rest of the intervals on the circle of fifths + ] . + </pre> + </div> + + <p>A graphical representation of a similar description is shown in figure 2. + We explicitly name the pitch classes involved in each interval on the circle of fifths. + The IntervalDeviation concept describes the amount of deviation from a pure interval + in terms of a specific type of comma and a corresponding value (a fraction of that comma). + We can safely assume that a fifth is pure, unless the deviation is given.</p> + + <p><center><img src="CircleOfFifths.png" alt="Using the Circle of Fifths to describe a temperament." width="350"> + <br><br>Figure 2. Describing temperaments using the circle of fifths.</center></p> + + + <!-- ===================================================================== --> + + <h2 id="reference">4. Cross-reference for Temperament classes and properties</h2> + + <p>...</p> + + <!-- The following is the script-generated list of classes and properties --> + %s + <!-- End of the terms list --> + + <p>...</p> + + <!-- ===================================================================== --> + + <h2 id="references">A References</h2> + + <dl> + <dt class="label" id="ref-some">Music Ontology</dt> + <dd><em>The <a href="http://purl.org/ontology/mo/">Music Ontology</a></em> is a thorough and mature ontology for describing + music-related data, including musicological information. This ontology is intended to be + used in conjunction with the Music Ontology.</dd> + </dl> + + <!-- + <h3 id="references-other">A.2 Other references</h3> + + <dl> + <dt class="label" id="ref-rfc2119">IETF RFC 2119</dt> + <dd> + <em><a href="http://www.ietf.org/rfc/rfc2119.txt">RFC 2119: Key words + for use in RFCs to Indicate Requirement Levels</a></em>. Internet + Engineering Task Force, 1997 (see http://www.ietf.org/rfc/rfc2119.txt). + </dd> + </dl> + --> + + <!-- ===================================================================== --> + + <h2 id="changes">B Changes in this version (Non-Normative)</h2> + + <ul> + <li><p>first published draft 18-12-2009</p></li> + </ul> + + <h2><a id="acknowledgements"></a>C Acknowledgements (Non-Normative)</h2> + + <p>Some modelling concepts in this ontology were borrowed form the + <a href="http://purl.org/ontology/chord/">Chord Ontology</a></em> + and the + <a href="http://purl.org/ontology/similarity/">Music Similarity Ontology</a></em>. + </p> + + </body> + +</html> +