Citations:octavation

English citations of octavation and octavations

• 1922, Frank Ebenezer Miller, Vocal Art-Science and Its Application (2nd ed.; G. Schirmer, inc.), pages 228,⁽¹⁾ 230,⁽²⁾ and 240⁽³⁾

  ⁽¹⁾ This results in more stress, torsion and recoil, dependent upon their coördinate basic octavation. By coördinate basic octavation I mean that the crico-thyroid gives, by its three insertions on the thyroid and one on the cricoid cartilage, the dispersion of this muscle force from the cricoid to the thyroid cartilage.

  ⁽²⁾ Therefore, it may be said that the sex question is both brain stem and pelvic stem in its fourfold octavation with its stabilizing governor, the pituitary body, under the guidance of the master, the brain.

  ⁽³⁾ These consist in coördination and correlation, the sex relation of octavation of voice and pitch.

• 1923, Medical Review of Reviews (Austin Flint Association, Inc.), volume 29, page 22

  As a matter of interest we will here simply call attention to the fact that energy is apparently transmuted by a series of octavations and that these octavations differentiate matter.

• 1947, George Llewellyn, Improved Perpetual Planetary Hour Book (rev. ed.; Llewellyn Publications, Ltd.), “Aspects and Octaves: In Connection with Planetary Hours”, pages 170⁽¹⁾ and 171⁽²⁾

  ⁽¹⁾ However, this octavation will be qualified (and perhaps rendered nil) if on a day when Uranus is well aspected its octave Mercury should be adversely aspected, or vice versa. The same applies to Pluto and Mars, Neptune and Venus.

  ⁽²⁾ The rules of octavation hold good in any other periods but to a slightly less extent.

• 1947, Lloyd Emerson Siberell [ed.], Imprimatur: A Literary Quarterly for Bibliophiles, volume 1, issues 1–3, page 54

  Proceeding clockwise around this dial, we encounter symbols in this order: Unity, Energy, Unison, Harmony, Polarization, Balance, Rhythm, Correlation, Coordination, Octavation, Kinaesthetization, Perfection.

• 1949, The American Mathematical Monthly: The Official Journal of the Mathematical Association of America, volume 56, page 463

  The inverse operation, which is termed “decimation,” together with an adequate treatment for the octavation of decimal fractions will be mentioned here without consideration of the details.

• 1956, Hugh Jones [aut.] and Richard Lee Morton [ed.], The Present State of Virginia: From Whence Is Inferred a Short View of Maryland and North Carolina (published for the Virginia Historical Society by the University of North Carolina Press), page 37

  In that part of the essay devoted to rules, the author devised a complete, new system of terms in notation and numeration, and supplied elaborate rules for the use of the octave system and for the reducing of numbers from the decade to the octave system, and the reverse — processes which he called octavation and decimation, respectively.

• 1973, Donald E. Knuth, The Art of Computer Programming (2nd ed.; Addison-Wesley; →ISBN, 9780201038224), volume 2: “Seminumerical Algorithms”, page 309

  The 18th century American mathematician Hugh Jones used the words “octavation” and “decimation” to describe octal/decimal conversions, but his methods were not as clever as his terminology.

• 1973, George R Neaderhiser, Guidelines for the Development of a Comprehensive Music Curriculum for Elementary Secondary Schools (Kansas State Department of Education), page unknown

  OCTAVATION (also called Pitch Control) — Changing the rate of tape speed over the playback head of a tape recorder changes the pitch of the signal being played back. If the speed is doubled, the signal will increase in pitch one octave.

• 1977, Curt Sachs [aut.] and Jaap Kunst [ed.], The Wellsprings of Music (Da Capo Press; →ISBN, 9780306800733), page 158

  Aiming now at the seventh now at the octave, they alternately create now a triple third now a triadic octave. The following is a curious example: a French rondeau from the Roman de la Rose (12th century) first establishes the triad, then turns to the seventh, but leaves it immediately to catch the octave, only to return in haste to the safer, wonted seventh.²⁶ A similar example of uncertain octavation will be described in the following section on the Fate of Quartal and Quintal Patterns.

• 1988, William Primrose quoted by David J. Dalton in Playing the Viola: Conversations with William Primrose (Oxford University Press; →ISBN, 9780193185142), page 202

  Promptly, if tentatively, I arranged ‘octavations’ which seemed to me to give the two movements greater elegance and litheness.

• 1996 August 19th–24th, Lydia Ayers and Andrew Horner [eds.], Proceedings of the 1996 International Computer Music Conference: 19–24 August, 1996 (The International Computer Music Association; →ISBN, 9789628509218), page 127

  The method provides a simple control mechanism to provide spectral morphing via the octavation parameter.

• 1998, Hayes Biggs and Susan Orzel [eds.], Musically Incorrect: Conversations about Music at the End of the 20th Century (C.F. Peters; →ISBN, 9780938856078), page 13

  He also once mentioned a principle of “octavation” (his term), whereby, coming to a difficult point in the evolution of a contrapuntal texture, the composer could, as it were, escape to fresh territory by the straightforward strategy of jumping a part up or down by an octave.