A history of performing pitch: the story of "A"
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Lanham, Maryland ; Oxford
The Scarecrow Press
2002
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Literaturverz. S. 513 - 548 |
| Beschreibung: | LVII, 568 Seiten Illustrationen 24 cm |
| ISBN: | 9780810841857 0810841851 |
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| adam_text | Titel: A history of performing pitch
Autor: Haynes, Bruce
Jahr: 2002
Contents
List of Illustrations xiii
List of Graphs xv
Preface xix
Acknowledgements xxiii
Mechanics xxix
Introduction xxxiii
o-i The Idea of Multiple Pitch Standards xxxiii
o*ia Sound Frequency, Pitch Frequency, Pitch Standard xxxiii
o-ib Pitch Variation in the Past xxxv
o-ic The Effects of Pitch Differences xxxvi
o-id Studying Pitch Changes in the Past xli
0-2 Appropriate Frequency Tolerance xlii
o-2a Fluctuation Within a Standard xlvii
o-ib A Terminology for Pitch Levels li
0-3 Transposition Hü
o-ja Transposition Grids liv
0-3D Transposition and Temperament liv
0-3C The Autonomy of Church Pitches and
Secular Pitches liv
Notes Iv
1 The Evidence 1
1-1 Paper Evidence: Pitch Names and Relationships 2
1-2 Original Instruments and Original Pitch Frequencies 3
1-3 The Most Useful Instruments 6
i-3a Cornetts 6
1-30 Renaissance Flutes 7
1-3C Traversos 9
Contents
i-3d Recorders n
i-3e Clarinets n
i-3f Organs and Church Beils 15
i-Jg Pitchpipes ,8
1-4 Less Direct Evidence 22
i-4a Strang Keyboard Instruments and Lutes 22
t-4b Trumpets 25
1-4C Automatic Instruments 26
1-5 Unreliable Evidence 27
i-ja Double-Reeds 27
i-5b Bowed String Instruments 28
1-5C Vocal Range 29
i*5d Xylophones and Glass Armonicas 30
l-je Tuning Forks: Accurate but without Musical
Context 31
i-^f Length Standards as Indicattons of Pitch Standards 32
1-6 Factors That Determine the Accuracy and Credibility
of Evidence from Instruments 35
i-6a Temperature 35
i-6b Physical Alterations 36
i-6c Wood Shrinkage 36
i-od Nominal Pitch 38
i-6e Locating and Dating 39
i-6f Quality of Information 39
i-6g Anachronistic Playing Techniques 40
t-7 Frequency Measurements in 17Ü1- and i8th-Century
Studies of Acoustics and Vibration Theory 41
1-8 Cases Where Both Sundard and Frequency Are Known 44
Notes 45
2 Pitch before the Instrument Revolution of ca. 1670 55
2-1 When Pitch Standards Became Necessary 55
2-2 Italy 5g
2 2a Venice 5g
2-aai Mezzo Putrto (A+i) 58
2-2a2 Tutto Punto (A+o) 62
2-2«3 Tuono Consta (A-i) 65
Contents
2 2a4 Instruments Pitched Lower
Than Mezzo Punto 68
2-2b Rome 69
2-2C Other Cities 73
2-3 Germany 76
2-3a Praetorius s Chorthon (A-i) 76
2-3b A+i Prior to 1670: Praetorius s CamtnerThon 78
2-4 The Low Countries 84
2-5 England 86
2-5a Church Music and the Quire-pitch Grid 88
2 Sai Religious Vocal Music in the i6th Century 92
2-;b Instruments Other Than the Organ before 1642 92
2 5bi The Court and Church Music 92
2-sb2 Consort-Pitch 95
2-6 France 97
2-6a Ton De Chapelle at A-2 97
2-6b Tond Ecurie 98
2-6c Lully s Pitch (Ton d Opera) 100
2-7 The Habsburg Lands 102
Notes 103
3 The Instrument Revolution and Pitch Fragmentation,
1670-1700 115
3-1 France 116
3-ia Ton d Opera (A-2) 116
3-ib Ton de la Chambre du Roy (A-1V2) 117
3-ibi Organ Pitch and the Louis XIV
Parenthesis 120
3-ibz The Coexistence of Ton de la Chambre du
Roy and Ton d Opera 121
3-ic Ton d Ecurie (A+i) 123
3-2 England 124
3-2a French Influences on Instrumental Pitch at
the Restoration 124
3-2ai Consort-pitch (Qr3), Alias Ton de la
Chambre (A-1V2) 126
3-2b Church Organs and the Quire-pitch Grid 129
3-2bi Quire-pitch (A=473) 130
Contents
3-zb2 Qri (A=448) »32
3-2b3 Chappell-pitcht Q:2 (AS423) 133
3-3 Germany 33
3-3a The Arrival of French Instruments in Germany 134
j-3b The Shift in Terminology 136
3-3C Deutsche as an Induration of Pitch 138
3-3d Pitches of Surviving Instruments 140
3-3di Organ Pitch 140
3-3dia Exceptionally High Organs (A+2) 141
3-3d2 Woodwind Pitches 143
3-3d3 A-2 in Germany 145
3-4 The Dutch Republic 145
3-5 The Spanish Netherlands 146
3-6 The Habsburg Lands 147
Notes 150
4 The General Adoption of A-i, 1700-1730 159
4-1 Italy 159
4-ia Venice and Milan 159
4-iai A+i (Consta di Lombardid) and Its
Corollary, A-i 160
4-U2 Consta Veneto/Venetianischen Ton, A+o 166
4-ib Rome 167
4-tc Elsewhere in Italy 168
4-2 France 169
4-2a A-i in France l7
4-3 The Dutch Republic I7i
4*3a Woodwind Pitches 17i
4-3b Organ Pitches I72
4-4 The Spanish/Austrian Netherlands 174
4-5 England ,75
4-5« Consort-pitch (Q3) ,75
4-5ai The Upward Movement of Woodwinds
to A-i I?6
4-sb Organ Pitches ,7g
Notes w
Contents
5 Germany, 1700-1730: Cammerton, Chorton, Cornet-Ton 183
5-1 Notation of Chorton and Cammerton When Used
Together 184
5-2 Practical Considerations in Transposing Parts 184
5-2a Voices 184
5-2b The String Band 186
5-2c The Organ 187
5-2d The Woodwinds 188
5-2e Temperament 190
5-2f Key Characters and Affective Associations 192
5-2g Sonority 194
5-3 Reconciling Pitch Levels 195
5~3a Kammerkoppel and Kammerregister 196
5-3b The First Cammerton Organs 196
5-3C Frequencies 198
5-4 Higher Pitches 200
5~4a The Name Chorton Used as an Equivalent to
Cornet-Ton 200
5 4b A+i {Cornet-Ton, Often Chorton) 201
5-4C A+2 (Hoch Chorton) 204
5-5 A-i as Cammerton on German Woodwinds 205
5-6 The tief-Cammertons (A-iV2, A-2) 206
5-6a A-2 207
5-6b A-1V2 208
5-6c When tief-Cammerton Ceased to Be Used 208
5-7 Organs at A+o 209
5-8 The Silbermanns 209
5-9 Specific Places 212
5 9a Dresden 212
5 9b Leipzig 214
5-9C Berlin 216
S~9d Hamburg 216
5 9e Nuremberg 216
5-9f Darmstadt 217
5*9g Frankfurt am Main 218
5-9I1 Other Cases 219
Notes 220
Contents
6 Sebastian Bach and Pitch 229
6-1 Surviving Instruments and Original Pitches
Linked to Bach 229
6-2 Weimar 232
6-2a The Pitch of the Weimar Organs 233
6-2b Two Catntnertons at Weimar 233
6-3 Cöthen 236
6-4 Bach s Use of tief-Cammerthon at Leipzig 239
6-4a Cantata 194 239
6-4b The Magnificat and Cantata 63 240
6-4C Cantatas 22 and 23 241
6-5 Works by Bach in Which Pitch Is an Issue 242
Notes 257
7 1730-1770: A Diversity of Pitches 265
7-1 The Pitch Descriptions of Quantz and Agricola 266
7-2 Traveling Virtuosos 269
7-3 Italy 269
7-3a Venice 270
7 3b Other Northern and Central Italian Cities 270
7-3C Rome and Naples 271
7-4 France 273
7-4a Ton d Opera and Ton de Chapelle 275
7-5 Germany 277
7-Sa A+i, Cornet-Ton/Chorton 283
7-;b A+o as Chorton 284
7-5C Kammerregister and Organs at Cammerton 285
7-5d A-2, Französischer Thon/tief-Cammerton 286
7*Se Dresden and Berlin 287
7-6 England 289
7-7 The Dutch Republic 291
7-8 The Habsburg Lands 293
Notes 29Ö
8 Classical Pitches, 1770-1800 jOI
8-1 It*ly 304
8-2 France 3o6
8-2a Organs and Pitch in Churches 307
Contents
8-2b The Opera 308
8-2c Instrumental Pitches 310
8-3 Germany 312
8-3a Instrumental Pitch 313
8-3b Prussia and Saxony 316
8-3C Organs 318
8-4 England 318
8-5 The Dutch Republic 319
8-6 The Habsburg Lands 320
8-6a Salzburg 322
Notes 323
9 Early Romantic Pitches, 1800-1830 327
9-1 Italy 327
9-2 France 329
9*2a The Pitch Affair at the Paris Opera in the 1820s 330
9-3 Germany 333
9-4 England 336
9-5 The Habsburg Lands 338
Notes 340
10 Pitch Standards, 1830-2001 343
10-1 1830 to 1860: Rising Pitch 346
10-ia Italy 346
io-ib France 346
10-ic Germany 349
10-id England 350
10-ie Austria 351
10-2 1860 to 1900: The Pitch Rise 1s Gradually Checked 351
lo-2a Italy 353
io-2b Germany 353
10-2C England 355
io-2d Holland 359
io-2e Austria 359
10-3 1900 to 2000: A Universal Performing Pitch 359
Notes 364
xii Contents
11 Summary: Pitch Change by Country 367
H-i Italy 307
11-2 France 369
11-3 Germany 371
11-4 England 37*
11-5 The Dutch Republic 379
11-6 The Southern Netherlands 380
11-7 The Habsburg Lands 381
Graphs 383
Appendixes 419
Appendix 1: Organs with Original Pitch Frequencies
That Are Known and with Pitches That Were Named 421
Appendix 2: Curved Corneas 425
Appendix 3: Renaissance Flutes 429
Appendix 4: Traversos 431
Appendix 5: Recorders 441
Appendix 6: Clarinets 453
Appendix 7: Organs 457
Appendix 8: Pitchpipes 475
Citations in Original Languages 477
Bibliography 5IJ
Index 549
About the Author -5-
|
| any_adam_object | 1 |
| author | Haynes, Bruce 1942-2011 |
| author_GND | (DE-588)131550969 |
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| callnumber-subject | BX - Christian Denominations |
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| dewey-full | 781.2/32 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.2/32 |
| dewey-search | 781.2/32 |
| dewey-sort | 3781.2 232 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| era | Geschichte gnd |
| era_facet | Geschichte |
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| indexdate | 2024-07-09T19:03:19Z |
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| publisher | The Scarecrow Press |
| record_format | marc |
| spelling | Haynes, Bruce 1942-2011 Verfasser (DE-588)131550969 aut A history of performing pitch the story of "A" Bruce Haynes Lanham, Maryland ; Oxford The Scarecrow Press 2002 LVII, 568 Seiten Illustrationen 24 cm txt rdacontent n rdamedia nc rdacarrier Literaturverz. S. 513 - 548 Geschichte gnd rswk-swf Diapason Diapason ram Muziekinstrumenten gtt Stemmingen (muziek) gtt Tempérament (Musique) Tempérament (musique) ram Musical pitch Musical temperament Stimmung Musik (DE-588)4122368-8 gnd rswk-swf Temperatur Musik (DE-588)4184689-8 gnd rswk-swf Stimmton (DE-588)4183347-8 gnd rswk-swf Kammerton (DE-588)4163160-2 gnd rswk-swf Musikalische Aufführungspraxis (DE-588)4170800-3 gnd rswk-swf Musikalische Aufführungspraxis (DE-588)4170800-3 s Stimmung Musik (DE-588)4122368-8 s Temperatur Musik (DE-588)4184689-8 s Kammerton (DE-588)4163160-2 s Stimmton (DE-588)4183347-8 s Geschichte z DE-604 HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=009890735&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Haynes, Bruce 1942-2011 A history of performing pitch the story of "A" Diapason Diapason ram Muziekinstrumenten gtt Stemmingen (muziek) gtt Tempérament (Musique) Tempérament (musique) ram Musical pitch Musical temperament Stimmung Musik (DE-588)4122368-8 gnd Temperatur Musik (DE-588)4184689-8 gnd Stimmton (DE-588)4183347-8 gnd Kammerton (DE-588)4163160-2 gnd Musikalische Aufführungspraxis (DE-588)4170800-3 gnd |
| subject_GND | (DE-588)4122368-8 (DE-588)4184689-8 (DE-588)4183347-8 (DE-588)4163160-2 (DE-588)4170800-3 |
| title | A history of performing pitch the story of "A" |
| title_auth | A history of performing pitch the story of "A" |
| title_exact_search | A history of performing pitch the story of "A" |
| title_full | A history of performing pitch the story of "A" Bruce Haynes |
| title_fullStr | A history of performing pitch the story of "A" Bruce Haynes |
| title_full_unstemmed | A history of performing pitch the story of "A" Bruce Haynes |
| title_short | A history of performing pitch |
| title_sort | a history of performing pitch the story of a |
| title_sub | the story of "A" |
| topic | Diapason Diapason ram Muziekinstrumenten gtt Stemmingen (muziek) gtt Tempérament (Musique) Tempérament (musique) ram Musical pitch Musical temperament Stimmung Musik (DE-588)4122368-8 gnd Temperatur Musik (DE-588)4184689-8 gnd Stimmton (DE-588)4183347-8 gnd Kammerton (DE-588)4163160-2 gnd Musikalische Aufführungspraxis (DE-588)4170800-3 gnd |
| topic_facet | Diapason Muziekinstrumenten Stemmingen (muziek) Tempérament (Musique) Tempérament (musique) Musical pitch Musical temperament Stimmung Musik Temperatur Musik Stimmton Kammerton Musikalische Aufführungspraxis |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=009890735&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT haynesbruce ahistoryofperformingpitchthestoryofa |