Wolfgang von Schweinitz | |
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Born | Hamburg, Germany | 7 February 1953
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Wolfgang von Schweinitz (born 7 February 1953 in Hamburg) is a German composer of classical music and an academic teacher.
Schweinitz studied composition at the Hochschule für Musik und Theater Hamburg, from 1971 to 1973 with Gernot Klussmann and from 1973 to 1975 with György Ligeti. He continued his studies at the Stanford University with John Chowning. He was a Stipendiat of the Villa Massimo in 1978, at the same time as Sarah Kirsch. [1] In 1980 he taught at the Darmstädter Ferienkurse. His opera Patmos, based on the Apocalypse of St John, was premiered in 1990 at the second Munich Biennale. [2]
From 1994 to 1996, Schweinitz was a professor of composition at the Hochschule für Musik "Franz Liszt", Weimar. [3] In 2007 he succeeded composer James Tenney at the California Institute of the Arts. [3]
Since 1997, Schweinitz has been concerned with "[r]esearching and establishing new microtonal tuning and ensemble playing techniques based on non-tempered just intonation" [4] in his compositions. Schweinitz's music is often characterized by its freely expressive counterpoint exploring the distinctive melodic and harmonic networks of just intonation within a rigorously structured formal logic.
Between 2000 and 2004, Schweinitz together with Canadian composer Marc Sabat developed a staff notation for just intonation called the Extended Helmholtz-Ellis JI Pitch Notation. [5]
In music, just intonation or pure intonation is the tuning of musical intervals as whole number ratios of frequencies. An interval tuned in this way is said to be pure, and is called a just interval. Just intervals consist of tones from a single harmonic series of an implied fundamental. For example, in the diagram, if the notes G3 and C4 are tuned as members of the harmonic series of the lowest C, their frequencies will be 3 and 4 times the fundamental frequency. The interval ratio between C4 and G3 is therefore 4:3, a just fourth.
In music theory, a comma is a very small interval, the difference resulting from tuning one note two different ways. Traditionally, there are two most common comma; the syntonic comma, "the difference between a just major 3rd and four just perfect 5ths less two octaves", and the Pythagorean comma, "the difference between twelve 5ths and seven octaves". The word comma used without qualification refers to the syntonic comma, which can be defined, for instance, as the difference between an F♯ tuned using the D-based Pythagorean tuning system, and another F♯ tuned using the D-based quarter-comma meantone tuning system. Intervals separated by the ratio 81:80 are considered the same note because the 12-note Western chromatic scale does not distinguish Pythagorean intervals from 5-limit intervals in its notation. Other intervals are considered commas because of the enharmonic equivalences of a tuning system. For example, in 53TET, B♭ and A♯ are both approximated by the same interval although they are a septimal kleisma apart.
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