By Ross W. Duffin
"A interesting and really available guide....Educating, stress-free, and delightfully unscary."―Classical Music
What if Bach and Mozart heard richer, extra dramatic chords than we pay attention in song at the present time? What sonorities and moods have we misplaced in enjoying track in "equal temperament"―the equivalent department of the octave into twelve notes that has develop into our average tuning technique? due to How equivalent Temperament Ruined Harmony, "we may well quickly manage to pay attention for ourselves what Beethoven particularly intended whilst he known as B minor 'black'" (Wall highway Journal).In this "comprehensive plea for extra style in tuning equipment" (Kirkus Reviews), Ross W. Duffin provides "a severe and well-argued case" (Goldberg Magazine) that "should make any modern musician imagine otherwise approximately tuning" (Saturday Guardian). forty eight illustrations
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Extra resources for How Equal Temperament Ruined Harmony (and Why You Should Care)
Bankruptcy eight: THE “JOACHIM MODE” 1. Albert Lavignac, song and Musicians, trans. William Marchant (1899; first pub. 1895), pp. 53–54. 2. Paul David, “Joachim, Joseph,” in George Grove, ed. , A Dictionary of song and Musicians (1890), vol. 2, pp. 34–35. three. Hermann von Helmholtz, Die Lehre den Tonempfindungen als physiologische Grundlage für die Theorie der Musik (Brunswick, 1863), p. 525; trans. Alexander J. Ellis, at the Sensations of Tone (London, 1885), p. 325. four. 1875 version, pp. 790–91; 1885 version, pp. 486–87. five. George Bernard Shaw, London song in 1888–89 as Heard through Corno di Bassetto (Later often called Bernard Shaw) with a few extra Autobiographical details (New York, 1937), pp. 331–32. 6. George Bernard Shaw, tune in London, 1890–1894, vol. 2. (London, 1932), pp. 276–77. 7. Donald Francis Tovey, “The Joachim Quartet,” in occasions Literary complement, might sixteen, 1902, pp. 141–42. eight. Donald Francis Tovey, “Joseph Joachim,” in instances Literary complement, Aug. 23, 1907, pp. 257–58. nine. Alphonse Blondel, “Le Piano et sa Facture,” in Encyclopédie de los angeles Musique et Dictionnaire du Conservatoire (Paris, 1913), p. 2071. bankruptcy nine: “THE LIMBO OF THAT that's ignored” 1. James Lecky, “Temperament,” in A Dictionary of track and Musicians (Grove 1) (London, 1890), vol. four, p. seventy three. 2. P. B. Medawar and J. S. Medawar, Aristotle to Zoos: A Philosophical Dictionary of Biology (Cambridge, Mass. , 1983), p. 277. three. Mark Lindley, “Temperaments,” �8, within the New Grove Dictionary of song and Musicians (New York and London, 2001). four. Cyril Erlich and Edwin M. solid, “Pianoforte,” I, �8, within the New Grove Dictionary of song and Musicians (New York and London, 2001). five. That method because it relates to the flute, for instance, is defined in Ardal Powell, The Flute (New Haven, 2002), pp. 199–203. 6. Harold H. Joachim, the character of fact (Oxford, 1906), p. 178. 7. This much-quoted word is from James’s rules of Psychology, vol. 1 (New York, 1890), p. 488. He really acknowledged “blooming,” even if. bankruptcy 10: the place can we cross FROM the following? 1. Donald Francis Tovey, “Harmony,” in Encyclopædia Britannica, 14th ed. (1929). 2. Itzhak Perlman (interview with Jeremy Siepmann), “All Play Is Work,” BBC tune journal three (May 1995): 23. three. Pablo Casals, Joys and Sorrows: Reflections, by way of Pablo Casals as instructed to Albert E. Kahn (New York, 1970), p. 215. four. Bradley Lehman, “Bach’s awesome Temperament: Our Rosetta Stone,” Early track 33 (2005): 3–23, 211–31. a variety of responses, a few laudatory, a few quibbling, a few antagonistic, looks on pp. 545–48 of an identical quantity. five. Gasparo GSCD-332 (1997) and Gasparo GSCD-344 (2000), respectively. 6. John Hind Chesnut, “Mozart’s instructing of Intonation,” magazine of the yankee Musicological Society 30 (1977): 268–70. 7. David Blum, Casals and the paintings of Interpretation (New York, 1977), p. 108. eight. Pablo Casals, quoted in Samuel and Sada Applebaum, the way in which They Play, vol. 1 (Neptune urban, N. J. , 1972), p. 272. nine. R. H. M. Bosanquet, An basic Treatise on Musical durations and Temperament (London, 1876), p. forty. decide on Bibliography Attwood, Thomas, and W.