sesquialtera


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sesquialtera

(ˌsɛskwɪˈæltərə)
n
1. (Music, other) a mixture stop on an organ
2. (Music, other) another term for hemiola
[C16: from Latin sesqui- half + alter second, other]
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References in periodicals archive ?
Debo confesar que nos dejo atonitos la ritmica sesquialtera sumamente compleja que caracteriza esa musica."
El termino hemiolia o hemiola en italiano, tal como describe Jean-Jacques Rousseau en su Dicionario de musica (Rousseau, 2007: 235), proviene del griego y significa entero y medio, expresa una relacion 3 a 2 entre dos cantidades y se denomina tambien proporcion sesquialtera. Su empleo en la musica nunca desaparecio y podemos encontrarlo posteriormente en el siglo XVII en las danzas del Barroco como la courante o la zarabanda, en el vals vienes o autores como Josquin Des Pres y Beethoven.
"En el caso de cilindros y prismas semejantes, los momentos compuestos, es decir, los que resulta de multiplicar sus pesos y sus longitudes, actuando estas como palancas, tienen entre si la proporcion sesquialtera de la que se da entre las resistencias de sus bases respectivas" [2].
Gonzalez Valle (1992) se propone que la alteracion entre 6/8 and 3/4, a la que se le da el nombre tecnico de sesquialtera, aparecio historicamente como consecuencia natural del cambio de acentuacion que se dio entre la poesia latina y la emergente poesia en lengua castellana.
As I observed above, the musical context of ex.3 suggests that the sign 3 denotes sesquialtera (3:2) in relation to [cts.].
The major fifth is that which contains three whole tones with one semitone and is that fifth which is counted among the perfect consonances, and which musical authors define as consisting of the sesquialtera proportion; the minor fifth is that which contains two whole tones with two semitones and is not a consonant interval but is counted among the intervals that are truly discordant.
The blackened semibreve plus blackened minim therefore occupies the time of the unblackened semibreve occurring in adjacent music in integer valor, so producing the sesquialtera proportion of 'three in the time of two'.(7) A conventional and straightforward interpretation of this notation in these instances produces satisfactory results that appear to give no cause for misgivings.
These were normally known by the Latin names inherited from Cicero and Boethius; however, one musician called the proportion 3:4 'subdiatessaron' instead of subsequitertia and 3:2 'diapente' instead of sesquialtera, another defined 'diapason', 'diapente', and 'diatessaron' not merely as the intervals, harmonic and melodic, of octave, fifth, and fourth, but as the proportions 2:1, 3:2, and 4:3, properly dupla, sesquialtera, and sesquitertia.(22) Not knowing that the dia- names, with their subintended
12, "Also hat Gott die Welt geliebt," containing the only triple sections notated by Schutz at the minim level instead of the semibreve level, under the time signature "3"; here a sesquialtera interpretation, as Kuster notes (p.
B 115 diagram diatesseron in sesquialtera: <tonus> in sesquioctava
Newcomb interprets all signs of triple meter as sesquialtera proportions (three notes in the time of two) without comment.
Even in straightforward pieces, singers were accustomed to construing from the context whether a coloured minim in the same piece and under the same signature meant a semiminim, or was part of an imperfection group, or was subject to triplet sesquialtera coloration.