Musical Scales, Intonation, and Theory
Max F. Meyer · The Journal of the Acoustical Society of America · 1947
For a scientific theory of scales the traditional, medieval symbols of the musicians are worse than inadequate. Neither do the terms in “fractions” occasionally employed by physicists serve scientifically. A clear and simple numerical method of scale terminology is recommended. (2) The causality of musical experience can be no other than basic facts of neurological chemistry. (3) The mysticism of Rameau's distinction of “major” and “minor” is exposed, the distinction condemned. (4) Attempts at “pure” intonation are in general to be discouraged, although not rejected on principle. (5) The very limited possibility of “quarter-tones” is scientifically explained.