. . . . . . . . . . "En musique, un comma est un intervalle tr\u00E8s petit, g\u00E9n\u00E9ralement entre le dixi\u00E8me et le cinqui\u00E8me du ton.Il est d\u00E9fini comme \u00E9tant l\u2019intervalle entre deux s\u00E9quences d\u2019intervalles purs.Le comma peut s\u00E9parer deux notes enharmoniques.Il intervient dans l'accordage des instruments en servant de base \u00E0 la construction des temp\u00E9raments. L'accordage des instruments utilise trois types de commas : \n* le comma pythagoricien ; \n* le comma syntonique ; \n* le comma enharmonique."@fr . "Koma (hudba)"@cs . . . . . "\u041A\u043E\u0301\u043C\u043C\u0430 (\u0433\u0440\u0435\u0447. \u03BA\u03CC\u03BC\u03BC\u03B1 \u2014 \u043E\u0442\u0440\u0435\u0437\u043E\u043A) \u0432 \u0442\u0435\u043E\u0440\u0438\u0438 \u043C\u0443\u0437\u044B\u043A\u0438 \u2014 \u043E\u0431\u0449\u0435\u0435 \u043D\u0430\u0437\u0432\u0430\u043D\u0438\u0435 \u0434\u043B\u044F \u043C\u0438\u043A\u0440\u043E\u0438\u043D\u0442\u0435\u0440\u0432\u0430\u043B\u043E\u0432 \u0432\u0435\u043B\u0438\u0447\u0438\u043D\u043E\u0439 \u043E\u043A\u043E\u043B\u043E 1/7 \u2014 1/10 \u0446\u0435\u043B\u043E\u0433\u043E \u0442\u043E\u043D\u0430, \u0432\u043E\u0437\u043D\u0438\u043A\u0430\u044E\u0449\u0438\u0445, \u043A\u0430\u043A \u043F\u0440\u0430\u0432\u0438\u043B\u043E, \u043F\u0440\u0438 \u0441\u043E\u043F\u043E\u0441\u0442\u0430\u0432\u043B\u0435\u043D\u0438\u0438 \u043E\u0434\u043D\u043E\u0442\u0438\u043F\u043D\u044B\u0445 \u0438\u043D\u0442\u0435\u0440\u0432\u0430\u043B\u043E\u0432 \u0432 \u0440\u0430\u0437\u043B\u0438\u0447\u043D\u044B\u0445 \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u044B\u0445 \u0441\u0442\u0440\u043E\u044F\u0445. \u041D\u0430\u0438\u0431\u043E\u043B\u0435\u0435 \u0438\u0437\u0432\u0435\u0441\u0442\u043D\u044B \u0441\u0438\u043D\u0442\u043E\u043D\u0438\u0447\u0435\u0441\u043A\u0430\u044F (\u0434\u0438\u0434\u0438\u043C\u043E\u0432\u0430) \u043A\u043E\u043C\u043C\u0430 \u0438 \u043F\u0438\u0444\u0430\u0433\u043E\u0440\u0435\u0439\u0441\u043A\u0430\u044F (\u043F\u0438\u0444\u0430\u0433\u043E\u0440\u043E\u0432\u0430) \u043A\u043E\u043C\u043C\u0430. \u0418\u0437\u0432\u0435\u0441\u0442\u043D\u044B \u0442\u0430\u043A\u0436\u0435 \u0438\u0441\u043A\u0443\u0441\u0441\u0442\u0432\u0435\u043D\u043D\u0430\u044F (\u0433\u043E\u043B\u044C\u0434\u0435\u0440\u043E\u0432\u0430 \u0438\u043B\u0438 \u0430\u0440\u0430\u0431\u0441\u043A\u0430\u044F) \u0438 \u0441\u0435\u043F\u0442\u0438\u043C\u0430\u043B\u044C\u043D\u0430\u044F (\u0430\u0440\u0445\u0438\u0442\u043E\u0432\u0430) \u043A\u043E\u043C\u043C\u044B. \u041E\u0431\u044B\u0447\u043D\u0430\u044F \u0440\u0430\u0432\u043D\u043E\u043C\u0435\u0440\u043D\u0430\u044F \u0442\u0435\u043C\u043F\u0435\u0440\u0430\u0446\u0438\u044F \u0443\u043D\u0438\u0447\u0442\u043E\u0436\u0430\u0435\u0442 \u0432\u0441\u0435 \u0440\u0430\u0437\u043D\u043E\u0432\u0438\u0434\u043D\u043E\u0441\u0442\u0438 \u043A\u043E\u043C\u043C\u044B, \u043A\u0440\u043E\u043C\u0435 \u0440\u0435\u0434\u043A\u0438\u0445 \u0438\u0441\u043A\u043B\u044E\u0447\u0435\u043D\u0438\u0439. \u041A\u043E\u0433\u0434\u0430 \u0433\u043E\u0432\u043E\u0440\u044F\u0442 \u043E \u043A\u043E\u043C\u043C\u0435 \u0431\u0435\u0437 \u0443\u0442\u043E\u0447\u043D\u0435\u043D\u0438\u044F \u0435\u0451 \u0438\u043C\u0435\u043D\u0438, \u0440\u0435\u0447\u044C \u0438\u0434\u0451\u0442 \u043E \u0441\u0438\u043D\u0442\u043E\u043D\u0438\u0447\u0435\u0441\u043A\u043E\u0439 \u043A\u043E\u043C\u043C\u0435."@ru . . . . . . . "Komat \u2013 drobny interwa\u0142 mi\u0119dzy cz\u0119stotliwo\u015Bciami tego samego stopnia skali, obliczonymi wed\u0142ug r\u00F3\u017Cnych metod wynikaj\u0105cych z przyj\u0119tego systemu d\u017Awi\u0119kowego. Zobacz te\u017C: \n* Komat pitagorejski \n* Interwa\u0142"@pl . . . . . . . "Comma (music)"@en . . "Komma (muziektheorie)"@nl . . "Comma (musicologie)"@fr . . . . . . . "Se conoce por el nombre de coma a cualquiera de los peque\u00F1os intervalos musicales que resultan de la comparaci\u00F3n o diferencia de otros intervalos mayores, cuando esta diferencia es menor de un semitono. Las comas tienen un nombre propio por razones hist\u00F3ricas; en caso contrario no gozan de esta embargo, cuando se comparan los intervalos de este sistema con otros."@es . . . . "\u041A\u043E\u043C\u0430 (\u043C\u0443\u0437\u0438\u043A\u0430)"@uk . . . . . . "Coma (m\u00FAsica)"@es . . . . . "Unter einem Komma versteht man in der Musiktheorie ein kleines Intervall (wesentlich kleiner als ein Halbton), das sich als Differenz unterschiedlicher Kombinationen reiner Intervalle ergibt. Der Begriff steht in enger Beziehung zu den Stimmungssystemen. Beim Versuch, eine m\u00F6glichst gro\u00DFe Anzahl musikalisch verwendbarer T\u00F6ne und Intervalle zu gewinnen, werden stets ein oder mehrere Kommata ausgeglichen."@de . "In musica il termine comma indica la differenza di frequenza che si ha a seconda del temperamento. La causa del comma deriva dal fatto che i rapporti tra le frequenze dei gradi della scala all'interno dell'ottava sono numeri indefiniti o irrazionali, e occorre approssimarli. \u00C8 un problema simile a dover proiettare una semisfera su un piano. In conseguenza il temperamento dipende dal gusto musicale, dallo strumento e dall'epoca storica. Divisione in commi del tono da Do a Re"@it . . . . . . . . "En musique, un comma est un intervalle tr\u00E8s petit, g\u00E9n\u00E9ralement entre le dixi\u00E8me et le cinqui\u00E8me du ton.Il est d\u00E9fini comme \u00E9tant l\u2019intervalle entre deux s\u00E9quences d\u2019intervalles purs.Le comma peut s\u00E9parer deux notes enharmoniques.Il intervient dans l'accordage des instruments en servant de base \u00E0 la construction des temp\u00E9raments. L'accordage des instruments utilise trois types de commas : \n* le comma pythagoricien ; \n* le comma syntonique ; \n* le comma enharmonique. Cet intervalle correspond approximativement \u00E0 l'\u00E9cart de fr\u00E9quence entre un la \u00E0 440 Hz et un la \u00E0 446 Hz, soit 6 battements par seconde. Des diff\u00E9rences de comma ne sont pas facilement d\u00E9celables dans les intervalles m\u00E9lodiques[r\u00E9f. n\u00E9cessaire]. Dans les intervalles harmoniques, elles provoquent dissonances et battements."@fr . . . . . . "\u041A\u043E\u0301\u043C\u043C\u0430 (\u0433\u0440\u0435\u0447. \u03BA\u03CC\u03BC\u03BC\u03B1 \u2014 \u043E\u0442\u0440\u0435\u0437\u043E\u043A) \u0432 \u0442\u0435\u043E\u0440\u0438\u0438 \u043C\u0443\u0437\u044B\u043A\u0438 \u2014 \u043E\u0431\u0449\u0435\u0435 \u043D\u0430\u0437\u0432\u0430\u043D\u0438\u0435 \u0434\u043B\u044F \u043C\u0438\u043A\u0440\u043E\u0438\u043D\u0442\u0435\u0440\u0432\u0430\u043B\u043E\u0432 \u0432\u0435\u043B\u0438\u0447\u0438\u043D\u043E\u0439 \u043E\u043A\u043E\u043B\u043E 1/7 \u2014 1/10 \u0446\u0435\u043B\u043E\u0433\u043E \u0442\u043E\u043D\u0430, \u0432\u043E\u0437\u043D\u0438\u043A\u0430\u044E\u0449\u0438\u0445, \u043A\u0430\u043A \u043F\u0440\u0430\u0432\u0438\u043B\u043E, \u043F\u0440\u0438 \u0441\u043E\u043F\u043E\u0441\u0442\u0430\u0432\u043B\u0435\u043D\u0438\u0438 \u043E\u0434\u043D\u043E\u0442\u0438\u043F\u043D\u044B\u0445 \u0438\u043D\u0442\u0435\u0440\u0432\u0430\u043B\u043E\u0432 \u0432 \u0440\u0430\u0437\u043B\u0438\u0447\u043D\u044B\u0445 \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u044B\u0445 \u0441\u0442\u0440\u043E\u044F\u0445. \u041D\u0430\u0438\u0431\u043E\u043B\u0435\u0435 \u0438\u0437\u0432\u0435\u0441\u0442\u043D\u044B \u0441\u0438\u043D\u0442\u043E\u043D\u0438\u0447\u0435\u0441\u043A\u0430\u044F (\u0434\u0438\u0434\u0438\u043C\u043E\u0432\u0430) \u043A\u043E\u043C\u043C\u0430 \u0438 \u043F\u0438\u0444\u0430\u0433\u043E\u0440\u0435\u0439\u0441\u043A\u0430\u044F (\u043F\u0438\u0444\u0430\u0433\u043E\u0440\u043E\u0432\u0430) \u043A\u043E\u043C\u043C\u0430. \u0418\u0437\u0432\u0435\u0441\u0442\u043D\u044B \u0442\u0430\u043A\u0436\u0435 \u0438\u0441\u043A\u0443\u0441\u0441\u0442\u0432\u0435\u043D\u043D\u0430\u044F (\u0433\u043E\u043B\u044C\u0434\u0435\u0440\u043E\u0432\u0430 \u0438\u043B\u0438 \u0430\u0440\u0430\u0431\u0441\u043A\u0430\u044F) \u0438 \u0441\u0435\u043F\u0442\u0438\u043C\u0430\u043B\u044C\u043D\u0430\u044F (\u0430\u0440\u0445\u0438\u0442\u043E\u0432\u0430) \u043A\u043E\u043C\u043C\u044B. \u0421\u0443\u0449\u0435\u0441\u0442\u0432\u0443\u044E\u0442 \u0438 \u043A\u043E\u043C\u043C\u044B \u043C\u0435\u043D\u0435\u0435 1/10 \u0446\u0435\u043B\u043E\u0433\u043E \u0442\u043E\u043D\u0430, \u043D\u0430\u043F\u0440\u0438\u043C\u0435\u0440, \u043A\u043E\u043C\u043C\u0430 \u041C\u0435\u0440\u043A\u0430\u0442\u043E\u0440\u0430, \u0447\u0442\u043E \u043D\u0435 \u043F\u0440\u043E\u0442\u0438\u0432\u043E\u0440\u0435\u0447\u0438\u0442 \u043E\u043F\u0440\u0435\u0434\u0435\u043B\u0435\u043D\u0438\u044E \u043A\u043E\u043C\u043C\u044B \u043A\u0430\u043A \u0440\u0430\u0437\u043D\u0438\u0446\u044B \u043C\u0435\u0436\u0434\u0443 \u043C\u0430\u0442\u0435\u043C\u0430\u0442\u0438\u0447\u0435\u0441\u043A\u0438\u043C\u0438 \u0432\u0435\u043B\u0438\u0447\u0438\u043D\u0430\u043C\u0438 \u0434\u0432\u0443\u0445 \u0442\u043E\u043D\u043E\u0432, \u043F\u0440\u0438\u0431\u043B\u0438\u0437\u0438\u0442\u0435\u043B\u044C\u043D\u043E \u0440\u0430\u0432\u043D\u044B\u0445 \u043F\u043E \u0432\u044B\u0441\u043E\u0442\u0435. \u0418\u0441\u0445\u043E\u0434\u044F \u0438\u0437 \u044D\u0442\u043E\u0433\u043E \u043E\u043F\u0440\u0435\u0434\u0435\u043B\u0435\u043D\u0438\u044F \u0440\u0430\u0437\u043D\u043E\u0432\u0438\u0434\u043D\u043E\u0441\u0442\u044F\u043C\u0438 \u043A\u043E\u043C\u043C\u044B \u0441\u043B\u0435\u0434\u0443\u0435\u0442 \u043F\u0440\u0438\u0437\u043D\u0430\u0432\u0430\u0442\u044C, \u043D\u0430\u043F\u0440\u0438\u043C\u0435\u0440, \u043C\u0430\u043B\u044B\u0439 \u0434\u0438\u0435\u0437\u0438\u0441, \u0432\u0435\u043B\u0438\u0447\u0438\u043D\u043E\u0439 \u0431\u043E\u043B\u0435\u0435 1/7 \u0446\u0435\u043B\u043E\u0433\u043E \u0442\u043E\u043D\u0430 \u0438 \u0441\u0445\u0438\u0437\u043C\u0443, \u0432\u0435\u043B\u0438\u0447\u0438\u043D\u043E\u0439 \u043C\u0435\u043D\u0435\u0435 1/10 \u0446\u0435\u043B\u043E\u0433\u043E \u0442\u043E\u043D\u0430. \u041E\u0431\u044B\u0447\u043D\u0430\u044F \u0440\u0430\u0432\u043D\u043E\u043C\u0435\u0440\u043D\u0430\u044F \u0442\u0435\u043C\u043F\u0435\u0440\u0430\u0446\u0438\u044F \u0443\u043D\u0438\u0447\u0442\u043E\u0436\u0430\u0435\u0442 \u0432\u0441\u0435 \u0440\u0430\u0437\u043D\u043E\u0432\u0438\u0434\u043D\u043E\u0441\u0442\u0438 \u043A\u043E\u043C\u043C\u044B, \u043A\u0440\u043E\u043C\u0435 \u0440\u0435\u0434\u043A\u0438\u0445 \u0438\u0441\u043A\u043B\u044E\u0447\u0435\u043D\u0438\u0439. \u041A\u043E\u0433\u0434\u0430 \u0433\u043E\u0432\u043E\u0440\u044F\u0442 \u043E \u043A\u043E\u043C\u043C\u0435 \u0431\u0435\u0437 \u0443\u0442\u043E\u0447\u043D\u0435\u043D\u0438\u044F \u0435\u0451 \u0438\u043C\u0435\u043D\u0438, \u0440\u0435\u0447\u044C \u0438\u0434\u0451\u0442 \u043E \u0441\u0438\u043D\u0442\u043E\u043D\u0438\u0447\u0435\u0441\u043A\u043E\u0439 \u043A\u043E\u043C\u043C\u0435."@ru . . . . "Een komma is de benaming voor een microtonaal interval tussen twee enharmonisch verwante tonen. Voorbeelden hiervan zijn het didymische komma en het pythagore\u00EFsche komma. Deze komma's ontstaan uit de verhouding tussen de reine intervallen en afgeleiden daarvan. Zo is bijvoorbeeld in geval van het pythagore\u00EFsche komma het verschil tussen 12 gestapelde kwinten en 7 octaven niet exact dezelfde toonhoogte (wanneer men van reine kwinten (verhouding 3:2) en reine octaven (verhouding 2:1) uitgaat). Immers: Die voorlaatste kwint eis is de wolfskwint die dus disharmonieert met de laatste octaaf."@nl . . . . . . "\u041A\u043E\u043C\u043C\u0430"@ru . . "In music theory, a comma is a very small interval, the difference resulting from tuning one note two different ways. Strictly speaking, there are only two kinds of 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\u266F tuned using the D-based Pythagorean tuning system, and another F\u266F 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 int"@en . . . . . "\u041A\u043E\u043C\u0430 (\u0430\u043D\u0433\u043B. comma, \u0440\u043E\u0441. \u043A\u043E\u043C\u043C\u0430 \u0432\u0456\u0434 \u0433\u0440\u0435\u0446. \u03BA\u03CC\u03BC\u03BC\u03B1 \u2018\u0432\u0456\u0434\u0440\u0456\u0437\u043E\u043A\u2019) \u2014 \u0432 \u043C\u0443\u0437\u0438\u0447\u043D\u0456\u0439 \u0430\u043A\u0443\u0441\u0442\u0438\u0446\u0456 \u043E\u0434\u0438\u043D \u0437 \u043D\u0430\u0439\u043C\u0435\u043D\u0448\u0438\u0445 \u043C\u0443\u0437\u0438\u0447\u043D\u0438\u0445 \u0456\u043D\u0442\u0435\u0440\u0432\u0430\u043B\u0456\u0432. \u0417 \u0430\u043D\u0442\u0438\u0447\u043D\u0438\u0445 \u0447\u0430\u0441\u0456\u0432 \u0456\u0441\u043D\u0443\u0454 \u043F\u0440\u043E\u0431\u043B\u0435\u043C\u0430 \u043D\u0435\u0437\u0430\u043C\u043A\u043D\u0443\u0442\u043E\u0441\u0442\u0456 \u043D\u0430\u0442\u0443\u0440\u0430\u043B\u044C\u043D\u0438\u0445 \u043B\u0430\u0434\u0456\u0432. \u0420\u043E\u0437\u0440\u0456\u0437\u043D\u044F\u044E\u0442\u044C \u043F\u0456\u0444\u0430\u0433\u043E\u0440\u0456\u0439\u0441\u044C\u043A\u0443 \u043A\u043E\u043C\u0443, \u0449\u043E \u0434\u043E\u0440\u0456\u0432\u043D\u044E\u0454 \u0431\u043B\u0438\u0437\u044C\u043A\u043E 1/9 \u0442\u043E\u043D\u0443 \u0442\u0430 \u0441\u0438\u043D\u0442\u043E\u043D\u0456\u0447\u043D\u0443, \u0430\u0431\u043E \u0434\u0456\u0434\u0456\u043C\u043E\u0432\u0443 \u043A\u043E\u043C\u0443, \u0449\u043E \u0434\u043E\u0440\u0456\u0432\u043D\u044E\u0454 \u043F\u0440\u0438\u0431\u043B\u0438\u0437\u043D\u043E 1/10 \u043F\u0456\u0432\u0442\u043E\u043D\u0443."@uk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Es coneix pel nom de coma a qualsevol dels petits intervals musicals que resulten de la comparaci\u00F3 o difer\u00E8ncia d'altres intervals majors, quan aquesta difer\u00E8ncia \u00E9s menor d'un semit\u00F2. Les comes tenen un nom propi per raons hist\u00F2riques, en cas contrari no gaudeixen d'aquesta denominaci\u00F3 i es diuen simplement \"petits intervals\" o difer\u00E8ncies. Des d'aquesta perspectiva, un sistema com el temperament igual de 12 notes, en qu\u00E8 tots els intervals s\u00F3n un m\u00FAltiple sencer del menor interval possible (el semit\u00F2 temperat), seria un sistema sense comes . Apareixen comes, per\u00F2, quan es comparen els intervals d'aquest sistema amb altres. Una coma tamb\u00E9 pot ser l'interval generador, per concatenaci\u00F3, dels intervals d'un sistema d'afinaci\u00F3 determinat. Per exemple, un sistema com el de Holder en qu\u00E8 la vuitena es divideix en 53 parts iguals, est\u00E0 basat en la coma de Holder i per concatenaci\u00F3 d'aquesta es obtenen el semit\u00F2 diat\u00F2nic (4 comes), el semit\u00F2 crom\u00E0tic (5 comes), el to (9 comes), la cinquena (31 comes), etc. Es produeixen comes freq\u00FCentment quan es consideren els sistemes d'afinaci\u00F3 diferents del temperament igual, en qu\u00E8 les notes enharm\u00F2niques no tenen el mateix so. Per exemple, en el sistema de Pit\u00E0gores la difer\u00E8ncia entre dues notes enharm\u00F2niques \u00E9s una coma pitag\u00F2rica mentre que en l'entonaci\u00F3 justa la difer\u00E8ncia \u00E9s una coma sint\u00F2nica."@ca . . . . . . . . "1458409"^^ . . "\u041A\u043E\u043C\u0430 (\u0430\u043D\u0433\u043B. comma, \u0440\u043E\u0441. \u043A\u043E\u043C\u043C\u0430 \u0432\u0456\u0434 \u0433\u0440\u0435\u0446. \u03BA\u03CC\u03BC\u03BC\u03B1 \u2018\u0432\u0456\u0434\u0440\u0456\u0437\u043E\u043A\u2019) \u2014 \u0432 \u043C\u0443\u0437\u0438\u0447\u043D\u0456\u0439 \u0430\u043A\u0443\u0441\u0442\u0438\u0446\u0456 \u043E\u0434\u0438\u043D \u0437 \u043D\u0430\u0439\u043C\u0435\u043D\u0448\u0438\u0445 \u043C\u0443\u0437\u0438\u0447\u043D\u0438\u0445 \u0456\u043D\u0442\u0435\u0440\u0432\u0430\u043B\u0456\u0432. \u0417 \u0430\u043D\u0442\u0438\u0447\u043D\u0438\u0445 \u0447\u0430\u0441\u0456\u0432 \u0456\u0441\u043D\u0443\u0454 \u043F\u0440\u043E\u0431\u043B\u0435\u043C\u0430 \u043D\u0435\u0437\u0430\u043C\u043A\u043D\u0443\u0442\u043E\u0441\u0442\u0456 \u043D\u0430\u0442\u0443\u0440\u0430\u043B\u044C\u043D\u0438\u0445 \u043B\u0430\u0434\u0456\u0432. \u0420\u043E\u0437\u0440\u0456\u0437\u043D\u044F\u044E\u0442\u044C \u043F\u0456\u0444\u0430\u0433\u043E\u0440\u0456\u0439\u0441\u044C\u043A\u0443 \u043A\u043E\u043C\u0443, \u0449\u043E \u0434\u043E\u0440\u0456\u0432\u043D\u044E\u0454 \u0431\u043B\u0438\u0437\u044C\u043A\u043E 1/9 \u0442\u043E\u043D\u0443 \u0442\u0430 \u0441\u0438\u043D\u0442\u043E\u043D\u0456\u0447\u043D\u0443, \u0430\u0431\u043E \u0434\u0456\u0434\u0456\u043C\u043E\u0432\u0443 \u043A\u043E\u043C\u0443, \u0449\u043E \u0434\u043E\u0440\u0456\u0432\u043D\u044E\u0454 \u043F\u0440\u0438\u0431\u043B\u0438\u0437\u043D\u043E 1/10 \u043F\u0456\u0432\u0442\u043E\u043D\u0443."@uk . "Es coneix pel nom de coma a qualsevol dels petits intervals musicals que resulten de la comparaci\u00F3 o difer\u00E8ncia d'altres intervals majors, quan aquesta difer\u00E8ncia \u00E9s menor d'un semit\u00F2. Les comes tenen un nom propi per raons hist\u00F2riques, en cas contrari no gaudeixen d'aquesta denominaci\u00F3 i es diuen simplement \"petits intervals\" o difer\u00E8ncies."@ca . "Unter einem Komma versteht man in der Musiktheorie ein kleines Intervall (wesentlich kleiner als ein Halbton), das sich als Differenz unterschiedlicher Kombinationen reiner Intervalle ergibt. Der Begriff steht in enger Beziehung zu den Stimmungssystemen. Beim Versuch, eine m\u00F6glichst gro\u00DFe Anzahl musikalisch verwendbarer T\u00F6ne und Intervalle zu gewinnen, werden stets ein oder mehrere Kommata ausgeglichen. Besonders wichtig sind das pythagoreische und das syntonische Komma. Das pythagoreische Komma wird anschaulich im Quintenzirkel: Die Aneinanderreihung von 12 reinen Quinten f\u00FChrt oktaviert zu einem Ton, der geringf\u00FCgig h\u00F6her ist als der Ausgangston. Das syntonische Komma ist der Unterschied der reinen und pythagoreischen Terz: Die Aneinanderreihung von 4 reinen Quinten f\u00FChrt oktaviert zu einem Ton, der geringf\u00FCgig h\u00F6her ist als der Ton im Abstand einer reinen Terz."@de . . "In musica il termine comma indica la differenza di frequenza che si ha a seconda del temperamento. La causa del comma deriva dal fatto che i rapporti tra le frequenze dei gradi della scala all'interno dell'ottava sono numeri indefiniti o irrazionali, e occorre approssimarli. \u00C8 un problema simile a dover proiettare una semisfera su un piano. In conseguenza il temperamento dipende dal gusto musicale, dallo strumento e dall'epoca storica. Se ci si basa sugli armonici naturali e prendiamo la scala diatonica di do maggiore, abbiamo che il re si pu\u00F2 ricavare come quinta di quinta (cio\u00E8 la quinta di sol maggiore, a sua volta quinta della scala di do maggiore) e ha pertanto un rapporto di 9/8 rispetto al do; il la si pu\u00F2 vedere come una terza minore sotto il do, e il rapporto \u00E8 5/3. Ma il rapporto reciproco tra il re e il la, che sono a distanza di una quinta, non \u00E8 3/2 ma 40/27, che \u00E8 un po' di meno (quinta stretta). Il rapporto tra questi due valori, cio\u00E8 80/81 (o se si preferisce, circa 21,5 cent) viene chiamato comma sintonico. Se per completare le note all'interno dell'ottava si preferisce continuare a fare salti di quinta, abbassandoci di un'ottava quando serve, non \u00E8 che la situazione migliori. Arrivati al si diesis dovremmo essere di nuovo al do: invece notiamo che abbiamo esagerato, e la differenza tra il si diesis e il do \u00E8 data dal rapporto 531441/524288, pari a circa 23,46 cent. Questo \u00E8 il comma pitagorico; la differenza tra i commi pitagorico e sintonico vale meno di 2 cent ed \u00E8 detta schisma. Arrotondando, con 11 schismi si ottiene un comma sintonico, e con 12 schismi uno pitagorico.In sintesi il comma pitagorico rappresenta il rapporto tra semitono cromatico e diatonico. Esiste infine un terzo comma, il comma enarmonico che si ottiene accordando per terze maggiori: do-mi-sol#-si#. In questocaso la differenza tra il si diesis e il do \u00E8 ancora maggiore: il rapporto \u00E8 infatti 128/125, pari a pi\u00F9 di 41 cent, che \u00E8 davvero troppo per essere usato in pratica. Nel caso del temperamento equabile naturalmente non si parla di comma: nessun intervallo segue gli armonici, e ci si accontenta di avere un'approssimazione costante. Divisione in commi del tono da Do a Re Tuttavia \u00E8 di uso comune fra alcuni musicisti parlare di un comma generico inteso come la nona parte di un tono (o la cinquantatreesima parte di ottava), il quale \u00E8 inteso anche come somma di un semitono cromatico (5 comma) e uno diatonico (4 comma). In realt\u00E0 questa divisione del tono non ha alcuna base teorica ed \u00E8 il risultato di un atteggiamento divulgativo di alcuni studiosi che, per facilitare l'apprendimento delle teorie sull'accordatura, favorirono tale approssimazione."@it . . . . . "Komma (Musik)"@de . "Jako koma se v hudb\u011B ozna\u010Duje mal\u00FD interval vyjad\u0159uj\u00EDc\u00ED rozd\u00EDl mezi n\u011Bkolika r\u016Fzn\u00FDmi \u010Dist\u00FDmi intervaly p\u0159\u00EDtomn\u00FDmi v alikvotn\u00EDch t\u00F3nech. Koma postihuje skute\u010Dnost, \u017Ee \u010Dist\u00E9 intervaly nelze libovoln\u011B kombinovat (co\u017E s sebou p\u0159in\u00E1\u0161\u00ED \u0159adu probl\u00E9m\u016F v syst\u00E9mech hudebn\u00EDho lad\u011Bn\u00ED); nap\u0159\u00EDklad \u010Distou okt\u00E1vu (pom\u011Br frekvenc\u00ED 2:1) nem\u016F\u017Eeme dostat \u017E\u00E1dnou kombinac\u00ED \u010Dist\u00FDch kvint (pom\u011Br frekvenc\u00ED 3:2), jeliko\u017E pro libovoln\u00E1 dv\u011B p\u0159irozen\u00E1 \u010D\u00EDsla n a m. Ji\u017E v antice byly pops\u00E1ny nejzn\u00E1m\u011Bj\u0161\u00ED typy kom: Pythagorejsk\u00E9 koma, Syntonick\u00E9 koma a jejich rozd\u00EDl, Schisma."@cs . "Comma (musica)"@it . . . . . . "Coma (m\u00FAsica)"@ca . . . "1067831725"^^ . . . . . . . "In music theory, a comma is a very small interval, the difference resulting from tuning one note two different ways. Strictly speaking, there are only two kinds of 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\u266F tuned using the D-based Pythagorean tuning system, and another F\u266F 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\u266D and A\u266F are both approximated by the same interval although they are a septimal kleisma apart. The word \"comma\" came via Latin from Greek \u03BA\u03CC\u03BC\u03BC\u03B1, from earlier *\u03BA\u03BF\u03C0-\u03BC\u03B1 = \"an act of cutting\". Within the same tuning system, two enharmonically equivalent notes (such as G\u266F and A\u266D) may have a slightly different frequency, and the interval between them is a comma. For example, in extended scales produced with five-limit tuning an A\u266D tuned as a major third below C5 and a G\u266F tuned as two major thirds above C4 are not exactly the same note, as they would be in equal temperament. The interval between those notes, the diesis, is an easily audible comma (its size is more than 40% of a semitone). Commas are often defined as the difference in size between two semitones. Each meantone temperament tuning system produces a 12-tone scale characterized by two different kinds of semitones (diatonic and chromatic), and hence by a comma of unique size. The same is true for Pythagorean tuning. In just intonation, more than two kinds of semitones may be produced. Thus, a single tuning system may be characterized by several different commas. For instance, a commonly used version of five-limit tuning produces a 12-tone scale with four kinds of semitones and four commas. The size of commas is commonly expressed and compared in terms of cents \u2013 1\u20441200 fractions of an octave on a logarithmic scale."@en . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Komat \u2013 drobny interwa\u0142 mi\u0119dzy cz\u0119stotliwo\u015Bciami tego samego stopnia skali, obliczonymi wed\u0142ug r\u00F3\u017Cnych metod wynikaj\u0105cych z przyj\u0119tego systemu d\u017Awi\u0119kowego. Zobacz te\u017C: \n* Komat pitagorejski \n* Interwa\u0142"@pl . . . . . . . . . . . . . . . . . "Se conoce por el nombre de coma a cualquiera de los peque\u00F1os intervalos musicales que resultan de la comparaci\u00F3n o diferencia de otros intervalos mayores, cuando esta diferencia es menor de un semitono. Las comas tienen un nombre propio por razones hist\u00F3ricas; en caso contrario no gozan de esta embargo, cuando se comparan los intervalos de este sistema con otros. Una coma tambi\u00E9n puede ser el intervalo generador, por concatenaci\u00F3n, de los intervalos de un sistema de afinaci\u00F3n determinado. Por ejemplo, un sistema como el de Holder en que la octava se divide en 53 partes iguales, est\u00E1 basado en la coma de Holder y por concatenaci\u00F3n de esta se obtienen el semitono diat\u00F3nico (4 comas), el semitono crom\u00E1tico (5 comas), el tono (9 comas), la quinta (31 comas), etc. Se producen comas frecuentemente cuando se contemplan los sistemas de afinaci\u00F3n distintos al temperamento igual, en los que las notas enarm\u00F3nicas no tienen el mismo sonido. Por ejemplo, en el sistema de Pit\u00E1goras la diferencia entre dos notas enarm\u00F3nicas es una coma pitag\u00F3rica mientras que en la entonaci\u00F3n justa la diferencia es una coma sint\u00F3nica."@es . . . . . . "Komat"@pl . . . "Jako koma se v hudb\u011B ozna\u010Duje mal\u00FD interval vyjad\u0159uj\u00EDc\u00ED rozd\u00EDl mezi n\u011Bkolika r\u016Fzn\u00FDmi \u010Dist\u00FDmi intervaly p\u0159\u00EDtomn\u00FDmi v alikvotn\u00EDch t\u00F3nech. Koma postihuje skute\u010Dnost, \u017Ee \u010Dist\u00E9 intervaly nelze libovoln\u011B kombinovat (co\u017E s sebou p\u0159in\u00E1\u0161\u00ED \u0159adu probl\u00E9m\u016F v syst\u00E9mech hudebn\u00EDho lad\u011Bn\u00ED); nap\u0159\u00EDklad \u010Distou okt\u00E1vu (pom\u011Br frekvenc\u00ED 2:1) nem\u016F\u017Eeme dostat \u017E\u00E1dnou kombinac\u00ED \u010Dist\u00FDch kvint (pom\u011Br frekvenc\u00ED 3:2), jeliko\u017E pro libovoln\u00E1 dv\u011B p\u0159irozen\u00E1 \u010D\u00EDsla n a m. Ji\u017E v antice byly pops\u00E1ny nejzn\u00E1m\u011Bj\u0161\u00ED typy kom: Pythagorejsk\u00E9 koma, Syntonick\u00E9 koma a jejich rozd\u00EDl, Schisma."@cs . . "23647"^^ . . . . "Een komma is de benaming voor een microtonaal interval tussen twee enharmonisch verwante tonen. Voorbeelden hiervan zijn het didymische komma en het pythagore\u00EFsche komma. Deze komma's ontstaan uit de verhouding tussen de reine intervallen en afgeleiden daarvan. Zo is bijvoorbeeld in geval van het pythagore\u00EFsche komma het verschil tussen 12 gestapelde kwinten en 7 octaven niet exact dezelfde toonhoogte (wanneer men van reine kwinten (verhouding 3:2) en reine octaven (verhouding 2:1) uitgaat). Immers: \n* 12 opeengestapelde reine kwinten geven bijvoorbeeld van c t/m bis: c-g-d-a-e-b-fis-cis-gis-dis-ais-eis-bis \n* 7 gestapelde reine octaven geven c-c-c-c-c-c-c-c. De \"eis\" zou enharmonisch moeten samenvallen met een f, en de \"bis\" met een c, maar dit blijkt niet zo uit te komen. Het verschil tussen deze bis en de c kan men via de trillingsverhoudingen berekenen, en dan blijkt dat het verschil tussen de bis en de c een factoris. Die voorlaatste kwint eis is de wolfskwint die dus disharmonieert met de laatste octaaf. Bij andere berekeningen, bijvoorbeeld uitgaand van de vergelijking van tertsenstapelingen en kwinten ontstaan weer andere komma's. Deze microtonale verschillen zijn van belang bij intonatie van intervallen en bij de bouw en stemmingen van muziekinstrumenten."@nl . .