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In fact, no specific linear magnitudes (e.g. 27, which is equated with the tone in A26) are mentioned.
By the end of the fourth century there was a marked division between Pythagorean harmonic theorists who regarded musical intervals as corresponding to whole number ratios and followers of Aristoxenus who regarded them as linear magnitudes.
This same combination of intervals as ratios and intervals as linear magnitudes can be seen in Fragment 6b and A26, where there is the additional emphasis on halving intervals.
Fragment 6a of Philolaus mentions the ratios that correspond to the intervals (e.g., the tone is 9 : 8) whereas Fragment 6b and A26 present intervals as linear magnitudes (e.g., the tone is 27).
Recently some scholars, on the other hand, have suggested that in Philolaus' time this split between regarding intervals as ratios and regarding them as linear magnitudes had not been fully developed and that Philolaus may have regarded the two approaches as compatible (Hagel 2009: 144; Creese 2010: 116, n. 119).
Thus, while it is impossible to deny that Philolaus might have tried to embrace both concepts of the nature of a musical interval, Fragment 6a still differs from 6b and A26 in being totally intelligible on the assumption that intervals correspond to ratios and in making no overt use of linear magnitudes or halves of such magnitudes (Huffman 2012: 235; cf. McKirahan 2012).
Similar(53)
Again, this condition does not hold for the (linear) magnitude spectrum.
However, this condition does not hold for the (linear) magnitude spectrum.
In MSE, the embedded VAD process uses the logarithmic magnitude spectrum rather than the linear magnitude spectrum.
Based on these two characteristics, the logarithmic magnitude spectrum is a more appropriate VAD indicator than the linear magnitude spectrum.
While Fragment 6a does emphasize the size of intervals and their combination to form the octave, size need not mean linear magnitude and combination need not mean addition.
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