Abstrakt This article focuses on the issue of using some mathematical knowledge about relationships between pitches to better understand the rules of intonation in a chamber orchestra or in a choir, primarily in the context of Baroque or Renaissance music and also, to some extent, contemporary microtonal music. The information presented here can be useful for players or singers as well as conductors or composers. Some crucial differences between intonation styles are mentioned and the danger of possible conflicts of contradictory intonation requirements is discussed. Next, some ideas are suggested for making the rules of proper intonation clear enough to the player so that he/ she doesn‘t need to write down dozens of additional marks for adjusting the tuning. Finally, the differences between intonation styles are quantified in detail so that the suggested ideas can be used for making clear and specific models of predictable intonation or possibly of unified intonation.
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Článek vyšel v časopise Živá hudba 2020/11
