The cent is a logarithmic unit of measure used for musical intervals. Twelve-tone equal temperament divides the octave into 12 semitones of 100 cents each. Typically, cents are used to express small intervals, to check intonation, or to compare the sizes of comparable intervals in different tuning systems. For humans, a single cent is too small to be perceived between successive notes.

Alexander John Ellis' paper On the Musical Scales of Various Nations,[1] published by the Journal of the Society of Arts in 1885, officially introduced the cent system to be used in exploring, by comparing and contrasting, musical scales of various nations. The cent system had already been defined in his History of Musical Pitch, where Ellis writes: "If we supposed that, between each pair of adjacent notes, forming an equal semitone [...], 99 other notes were interposed, making exactly equal intervals with each other, we should divide the octave into 1200 equal hundrecths [sic] of an equal semitone, or cents as they may be briefly called."[4]


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Ellis defined the pitch of a musical note in his 1880 work History of Musical Pitch[5] to be "the number of double or complete vibrations, backwards and forwards, made in each second by a particle of air while the note is heard".[6] He later defined musical pitch to be "the pitch, or V [for "double vibrations"] of any named musical note which determines the pitch of all the other notes in a particular system of tunings."[7] He notes that these notes, when sounded in succession, form the scale of the instrument, and an interval between any two notes is measured by "the ratio of the smaller pitch number to the larger, or by the fraction formed by dividing the larger by the smaller".[8] Absolute and relative pitches were also defined based on these ratios.[8]

Ellis noted that "the object of the tuner is to make the interval [...] between any two notes answering to any two adjacent finger keys throughout the instrument precisely the same. The result is called equal temperament or tuning, and is the system at present used throughout Europe.[9] He further gives calculations to approximate the measure of a ratio in cents, adding that "it is, as a general rule, unnecessary to go beyond the nearest whole number of cents."[10]

Ellis presents applications of the cent system in this paper on musical scales of various nations, which include: (I. Heptatonic scales) Ancient Greece and Modern Europe,[11] Persia, Arabia, Syria and Scottish Highlands,[12] India,[13] Singapore,[14] Burmah[15] and Siam,;[16] (II. Pentatonic scales) South Pacific, [17] Western Africa,[18] Java,[19] China[20] and Japan.[21] And he reaches the conclusion that "the Musical Scale is not one, not 'natural,' nor even founded necessarily on the laws of the constitution of musical sound, so beautifully worked out by Helmholtz, but very diverse, very artificial, and very capricious".[22]

The major third in just intonation has a frequency ratio 5:4 or ~386 cents, but in equal temperament is 400 cents. This 14 cent difference is about a seventh of a half step and large enough to be audible.

When listening to pitches with vibrato, there is evidence that humans perceive the mean frequency as the center of the pitch.[27] One study of modern performances of Schubert's Ave Maria found that vibrato span typically ranged between 34 cents and 123 cents with a mean of 71 cents and noted higher variation in Verdi's opera arias.[28]

Normal adults are able to recognize pitch differences of as small as 25 cents very reliably. Adults with amusia, however, have trouble recognizing differences of less than 100 cents and sometimes have trouble with these or larger intervals.[29]

The representation of musical intervals by logarithms is almost as old as logarithms themselves. Logarithms had been invented by Lord Napier in 1614.[30] As early as 1647, Juan Caramuel y Lobkowitz (1606-1682) in a letter to Athanasius Kircher described the usage of base-2 logarithms in music.[31] In this base, the octave is represented by 1, the semitone by 1/12, etc.

Early in the 19th century, Gaspard de Prony proposed a logarithmic unit of base 2 12 {\displaystyle {\sqrt[{12}]{2}}} , where the unit corresponds to a semitone in equal temperament.[36] Alexander John Ellis in 1880 describes a large number of pitch standards that he noted or calculated, indicating in pronys with two decimals, i.e. with a precision to the 1/100 of a semitone,[37] the interval that separated them from a theoretical pitch of 370 Hz, taken as point of reference.[38]

The following audio files play various intervals. In each case the first note played is middle C. The next note is sharper than C by the assigned value in cents. Finally, the two notes are played simultaneously.

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The cent is a logarithmic unit of measure used for musical intervals. Twelve-tone equal temperament divides the octave into 12 semitones of 100 cents each. Typically, cents are used to express small intervals, or to compare the sizes of comparable intervals in different tuning systems, and in fact the interval of one cent is too small to be heard between successive notes.

Alexander J. Ellis based the measure on the acoustic logarithms decimal semitone system developed by Gaspard de Prony in the 1830s, at Robert Holford Macdowell Bosanquet's suggestion. Ellis made extensive measurements of musical instruments from around the world, using cents extensively to report and compare the scales employed,[1] and further described and employed the system in his 1875 edition of Hermann von Helmholtz's On the Sensations of Tone. It has become the standard method of representing and comparing musical pitches and intervals.[2][3]

If one knows the frequencies a and b of two notes, the number of cents measuring the interval from a to b may be calculated by the following formula (similar to the definition of decibel):

To compare different tuning systems, convert the various interval sizes into cents. For example, in just intonation the major third is represented by the frequency ratio 5:4. Applying the formula at the top shows that this is about 386 cents. The equivalent interval on the equal-tempered piano would be 400 cents. The difference, 14 cents, is about a seventh of a half step, easily audible.

"The just noticeable difference in pitch must be expressed as a ratio or musical interval since the human ear tends to respond equally to equal ratios of frequencies. It is convenient to express the just noticeable difference in cents since that notation was developed to express musical intervals. Although research reveals variations, a reasonable estimate of the JND is about five cents. One of the advantages of the cents notation is that it expresses the same musical interval, regardless of the frequency range. " (same link as in PS)

The cent (symbol: tag_hash_108) is a unit of interval size equal to exactly 1/100th (or 1%) of a 12edo semitone. In other words, cents divide the half step (semitone) of 12edo into 100 equal parts. First proposed in the late 19th century by Alexander J. Ellis, the cent may also be defined as the logarithm base 1200th root of 2 of a ratio.

The 12edo perfect fifth is exactly 700 cents, and the 12edo major third is exactly 400 cents. In contrast, the just perfect fifth, which corresponds to two notes in a frequency ratio of 3/2, is approximately 702 cents, and the just major third of 5/4 is about 386 cents. The 24edo neutral third is exactly 350 cents. The 22edo approximation to 3/2 is approximately 709 cents.

The cent is commonly used because of its ease in communicating information about intervals to a 12edo-savvy audience. However, some have suggested that the cent be deprecated, as other than societal convention there's no reason to give 12edo inherent importance over any other decent tuning. In contrast, others have suggested that cents are a useful unit of interval measure for purely mathematical reasons, even despite of 12edo's current status as the dominant tuning in Western society.

The hertz and cents units do not have a relationship that can be expressed in terms of how many cents are in one hertz. The relationship between the two is complicated, so for now we'll only talk about the reason for that relationship. There is a phenomenon that makes two sounds with the same ratio of frequencies (expressed in hertz) to one another seem to the human ear to have the same interval. Here is an example of how this works out. 0852c4b9a8

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