Tuning and temperament: practice vs science, 1450-2020
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| Format: | Buch |
| Sprache: | English |
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Roma
Gangemi editore SpA international
[2023]
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| Schriftenreihe: | Musical instrumental history
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references (pages 551-583) and index |
| Beschreibung: | 591 pages illustrations (some color) 24 cm |
| ISBN: | 9788849246018 |
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Datensatz im Suchindex
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| adam_text | 5 CONTENTS Preface A. An unknown 15th-century French manuscript on organ building and tuning A.l. Pipe length calculations: basic monochord A.2. “Large”, “medium”, “chapel”, and “small” organs: pipe length-width ratio A.3. Diameter scales A.4. “Avantage des tuyaux” A.5. Mouth and foot A.6. Pythagorean versus meantone tuning A.7. Conclusions A. 8. Documentary appendix B. Equal temperament on keyboard instruments: proposals and rebuttals 1530-1680 B.l. The “Aristoxenians of Italy”, 1530-1660 B.2. Early proposals in the Flemish countries and in France, 1600-1640 B.3. The introduction of equal temperament in Rome: Doni, Frescobaldi and (). Castelli, 1639-1641 B.4. Still in Rome: P.F. Valentini’s monochord, 1642-1645 B.5. Subsequent evidence: J. Caramuel Lobkowitz, J. Krizanic, and G. Sabbatini, 1650-1660 B.6. Early documented use of equal temperament on organs: Spain, 1670-1680 C. Tonality expansion in keyboard compositions at the time of Frescobaldi. With late17th-century developments toward circulating temperaments C.l. The temperaments in use at the time of Frescobaldi C.2. Ways of masking ‘wolf dissonances in everyday practice of regular mcantonc tunings C.3. Evolved meantone tunings in the first half of the 17th century C.4. Hypothesis on the rare appearance of split keys in printed compositions C.5. The rise of tonality expansion: Frescobaldi and his times C.6. Circulating temperaments in ate-Seicento Italy C.7. Conclusions D. Intonation conflicts: harpsichord, lute and strings of the Italian 17th-century concerto D.l. Tuning of harpsichords, organs and instruments of
the violin family D.2. Tuning of lutes and viols: the problem of “equal semitones” D.3. Tuning of lutes and viols: the use of meantone-type temperaments, and the introduction of tastini D.4. Means of coexistence between the various instrument families D.5. Enharmonic embellishments D.6. Excursus: Evolution of tempered intonation in 18th-century ensembles 11 35 36 37 38 10 11 12 it II 49 50 56 62 71 76 79 83 84 92 93 96 98 106 113 117 119 121 128 132 136 140
6 E. Instrument tuning in Tuscany: 150 years of proposals and disputes, from V. Galilei to Cristofori c1580-1730 E. 1. The Galilei-Zarlino controversy E.2. Macchetti, Grandi and Angelini Bontempi’s Historia musica E.3. The tuning of Bartolomeo Cristofori and Giovan Francesco Becattelli’s tempered system E.4. Pietro Salvetti’s enharmonic lirone F. Harps versus pianos: Parisian querelles on tuning 1770-1830 F. 1. From meantone to tempérament ordinaire F.2. Single-action harp: harmonic range and tuning F.3. Double-action harp: the dilemma of temperament F.4. Experimental pianos with interchangeable harmonic range F.5. Pianos and harps: the spread of equal temperament G. Instrument tuning and pitch at the time of Mozart G. 1. The tuning of stringed keyboard instruments G.2. The persistence of unequal temperaments on Austrian and German organs G.3. Violin and vocal intonation G.4. Violin: diameter scaling and the transition to the silver-wound G-string G.5. Violin: pitch G.6. Mozart’s clarinet G.7. Conclusions H. Historical pianoforte temperaments 1700-1900 H. 1. The five types of temperaments historically used on the piano H.2. Te age of Bartolomeo Cristofori and Gottfried Silbermann H.3. Germany and Austria H.4. France H.5. Great Britain and United States H.6. Italy H.7. Piano with orchestral instruments I. The persistence of unequal temperaments in 19th-century Italy 1.1. Venetian area: evolution of the sixth-comma meantone 1.2. Irregular tunings deriving from the French ordinaire 1.3. Influence of Kirnberger and ‘untempered temperaments’ 1.4. Progressive success of equal
temperament: the Venetian area 1.5. Milan and North-West Italy: Casa Ricordi and quarrels about equal temperament 1.6. Still towards equal temperament: Florence and Rome 1.7. At Naples, the stronghold of unequal tunings: Vallotti-style temperament by Sievers (1868) 1.8. Two different methods of achieving equal temperament compared 1.9. Documentary appendix 145 146 150 155 158 163 164 166 173 178 182 189 190 196 197 201 208 210 212 215 215 217 217 219 225 231 233 235 236 241 246 252 257 262 268 272 276
J. Juan Caramuel Lobkowitz on musical logarithms and equal temperament c1647-1654 J.l. The birth of logarithmic units of measurement of musical intervals (1647) 281 J.2. Subsequent developments in logaritmic units of measurement (1653-1875) J.3. Caramuel on equal temperament K. The new equal-tempered keyboard instruments, pedal Geigenwerks, and the 32-foot organistrum invented and built by Juan Caramuel Lobkowitz for Ferdinand III of Austria cl647-1654 K. 1. Newly-invented equal-tempered keyboard instruments K.2. New types of hurdy-gurdy and the 32-foot organistrum, both tuned to an equalsemitone syntonic temperament K.3. Te new 16-foot bowed-string pedal harpsichords K.4. Wheel-harpsichords at the Imperial Court of Vienna: the ‘Automaton Kircherianum’ and Giovanni Valentini’s Geigenwerk K.5. Excursus: the clavicytherium and Caramuel’s other sound mechanisms K.6. Documentary appendix L. The Enlightenment myth of the scientifically optimal meantone tuning 1701-1864 L . 1. Introduction: a general view of the problem of temperament L .2. The two new directions of research L .3. First developments in England: Smith and Harrison (1749) L .4. The Padua school: Riccati and Barca L .5. The Montpellier Society of Sciences: Estève and Romieu L .6. Te illusory myth of an ‘optimal’ temperament L .7. Further 19th-century attempts: Fisher, Woolhouse, Drobisch, Ellis L.8. Conclusions 279 283 288 295 296 304 312 311 318 320 329 331 332 336 3 10 341 347 351 358 M. Still on the ‘best tempered’ musical system: querelles involving Estève, Romieu and other French academics c1740-1760 M. 1.
Estève vs Romieu: the progress of the controversy, and the mysterious disappearance of Estève M.2. The ‘best’ temperament, according to the acoustical evaluations of Estève and Romieu M.3. Bollioud, Rameau and equal temperament M.4. Jean Dumas and the scientific justification of the quarter-comma meantone tuning M.5. Documentary appendix 361 N. Suremain de Missery’s new theory of temperament following early investigations into auditory frequency discrimination 1810-1816 N. 1. The state of theory in 1810 and the birth of auditory frequency discrimination N.2. Two mathematical tools neglected by the French theorists: musical logarithms and exponential notation N.3. Analysis of Suremain de Missery’s four temperaments 395 362 368 374 377 381 396 398 400
8 N.4. Non-approbation of Suremain’s theory by the Paris Académie des sciences N.5. Conclusions: did Suremain achieve his aim? O. The beat-frequency calculation of tempered consonances: a long-standing physical-mathematical enigma 1630-1860 0.1. First order beats, i.e. those mechanically generated in the ear 0.2. Second order beats: i.e of neural origin, connected to the old ‘coincidence theory of vibrations’ O.3. Historical genesis of the early formulas concerning the beat frequency of tempered consonances: Smith and his followers O.4. Helmholtz and the jump from second-order to first-order beats 406 408 411 412 416 419 424 427 P. The linear approximations of equal temperament: P.F, Valentini (c1640) vs G.B. De Lorenzi (1870). With a possible application to Nicola Vicentino’s Archicembalo P.l. Correct geometric division vs Valentini’s traditional arithmetic approximation P.2. De Lorenzi’s arithmetic approximation, with and without his arbitrary ‘correction’ P.3. Evaluation of the precision of Valentini’s and De Lorenzi’s methods P.4. Calibration of De Lorenzi’s “Metrofono” P.5. Possible applications of De Lorenzi’s method to the Equal Tempered System 31 P.6. Overview of contemporary mechanical devices for the practical implementation of equal temperament P.7. Conclusions 428 430 433 434 435 438 Q. Mesolabe and sector: musical applications of two mathematical instruments 1558-1790 Q. 1. The mesolabe Q.2. The sector: its invention and use Q.3. Historical sectors provided with a Scala musica Q.4. Surviving sectors with a Scala musica Q.5. Conclusion 441 442 446 448 455 459 R.
The inharmonicity of musical string instruments 1543-2020 R. 1. The physics of the phenomenon and its mathematical description R.2. The inharmonicity of the vibrating string: historical development, including the contribution by J.-B. Mercadier R.3. Harpsichords and pianos: inharmonicity due to the resonances of the bridge and soundboard R.4. Pianos: ‘octave stretching’ and temperament ‘by perfect 5ths’ R.5. Instruments with fingerboard R.6. Documentary appendix 461 462 468 S. On three 18th-century pitch measurements: Sauveur, Stancari, and Sarti S.l. Excursus on the early 17th-century attempts S.2. Stancari’s toothed-wheel and his measurement of the Bolognese pitch (1706) S.3. The beat-rate method: Sauveur’s unsuccessful attempt (1701) S.4. Sauveur’s method revised: the successful approach of Sarti (1796) 439 475 479 483 490 495 495 497 501 503
9 T. Giuseppe Sarti on acoustics, tuning, and harmonic theory 1729-1802 T.l. More on Sarti as an acoustician T.2. The mathematical problem put forward by Sarti to the scientist Giordano Riccati (1776) T.3. Sarti and his Sistema fisico-matemtico dell’armonia. T.4. Enharmonic vs equal-tempered intonation T.5. Music composition techniques on a “numerical basis” T.6. Documentary appendix: Riccati’s solution of Sard s mathematical problem U. Paolo A. De Luca’s sonometer and the struggle for equal temperament at Naples 511 511 513 515 517 520 523 c1820-1880 U.l. De Luca, the musical acoustician: chronology of works U.2. Microcommas, Equal Tempered System 612, and continued ternary fractions U.3. De Luca’s tonometro and cordometro U.4. Diffusion of De Luca’s cordometro and the early appearance of equal temperament in Naples U.5. After De Luca: other tuning devices, in and outside Naples U.6. Excursus: the “Tonografo” by Luca De Samuele Cagnazzi (1841) 521 529 533 538 543 546 Works Cited 551 Author Name Index 581
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| adam_txt |
5 CONTENTS Preface A. An unknown 15th-century French manuscript on organ building and tuning A.l. Pipe length calculations: basic monochord A.2. “Large”, “medium”, “chapel”, and “small” organs: pipe length-width ratio A.3. Diameter scales A.4. “Avantage des tuyaux” A.5. Mouth and foot A.6. Pythagorean versus meantone tuning A.7. Conclusions A. 8. Documentary appendix B. Equal temperament on keyboard instruments: proposals and rebuttals 1530-1680 B.l. The “Aristoxenians of Italy”, 1530-1660 B.2. Early proposals in the Flemish countries and in France, 1600-1640 B.3. The introduction of equal temperament in Rome: Doni, Frescobaldi and (). Castelli, 1639-1641 B.4. Still in Rome: P.F. Valentini’s monochord, 1642-1645 B.5. Subsequent evidence: J. Caramuel Lobkowitz, J. Krizanic, and G. Sabbatini, 1650-1660 B.6. Early documented use of equal temperament on organs: Spain, 1670-1680 C. Tonality expansion in keyboard compositions at the time of Frescobaldi. With late17th-century developments toward circulating temperaments C.l. The temperaments in use at the time of Frescobaldi C.2. Ways of masking ‘wolf dissonances in everyday practice of regular mcantonc tunings C.3. Evolved meantone tunings in the first half of the 17th century C.4. Hypothesis on the rare appearance of split keys in printed compositions C.5. The rise of tonality expansion: Frescobaldi and his times C.6. Circulating temperaments in \ate-Seicento Italy C.7. Conclusions D. Intonation conflicts: harpsichord, lute and strings of the Italian 17th-century concerto D.l. Tuning of harpsichords, organs and instruments of
the violin family D.2. Tuning of lutes and viols: the problem of “equal semitones” D.3. Tuning of lutes and viols: the use of meantone-type temperaments, and the introduction of tastini D.4. Means of coexistence between the various instrument families D.5. Enharmonic embellishments D.6. Excursus: Evolution of tempered intonation in 18th-century ensembles 11 35 36 37 38 10 11 12 it II 49 50 56 62 71 76 79 83 84 92 93 96 98 106 113 117 119 121 128 132 136 140
6 E. Instrument tuning in Tuscany: 150 years of proposals and disputes, from V. Galilei to Cristofori c1580-1730 E. 1. The Galilei-Zarlino controversy E.2. Macchetti, Grandi and Angelini Bontempi’s Historia musica E.3. The tuning of Bartolomeo Cristofori and Giovan Francesco Becattelli’s tempered system E.4. Pietro Salvetti’s enharmonic lirone F. Harps versus pianos: Parisian querelles on tuning 1770-1830 F. 1. From meantone to tempérament ordinaire F.2. Single-action harp: harmonic range and tuning F.3. Double-action harp: the dilemma of temperament F.4. Experimental pianos with interchangeable harmonic range F.5. Pianos and harps: the spread of equal temperament G. Instrument tuning and pitch at the time of Mozart G. 1. The tuning of stringed keyboard instruments G.2. The persistence of unequal temperaments on Austrian and German organs G.3. Violin and vocal intonation G.4. Violin: diameter scaling and the transition to the silver-wound G-string G.5. Violin: pitch G.6. Mozart’s clarinet G.7. Conclusions H. Historical pianoforte temperaments 1700-1900 H. 1. The five types of temperaments historically used on the piano H.2. Te age of Bartolomeo Cristofori and Gottfried Silbermann H.3. Germany and Austria H.4. France H.5. Great Britain and United States H.6. Italy H.7. Piano with orchestral instruments I. The persistence of unequal temperaments in 19th-century Italy 1.1. Venetian area: evolution of the sixth-comma meantone 1.2. Irregular tunings deriving from the French ordinaire 1.3. Influence of Kirnberger and ‘untempered temperaments’ 1.4. Progressive success of equal
temperament: the Venetian area 1.5. Milan and North-West Italy: Casa Ricordi and quarrels about equal temperament 1.6. Still towards equal temperament: Florence and Rome 1.7. At Naples, the stronghold of unequal tunings: Vallotti-style temperament by Sievers (1868) 1.8. Two different methods of achieving equal temperament compared 1.9. Documentary appendix 145 146 150 155 158 163 164 166 173 178 182 189 190 196 197 201 208 210 212 215 215 217 217 219 225 231 233 235 236 241 246 252 257 262 268 272 276
J. Juan Caramuel Lobkowitz on musical logarithms and equal temperament c1647-1654 J.l. The birth of logarithmic units of measurement of musical intervals (1647) 281 J.2. Subsequent developments in logaritmic units of measurement (1653-1875) J.3. Caramuel on equal temperament K. The new equal-tempered keyboard instruments, pedal Geigenwerks, and the 32-foot organistrum invented and built by Juan Caramuel Lobkowitz for Ferdinand III of Austria cl647-1654 K. 1. Newly-invented equal-tempered keyboard instruments K.2. New types of hurdy-gurdy and the 32-foot organistrum, both tuned to an equalsemitone syntonic temperament K.3. Te new 16-foot bowed-string pedal harpsichords K.4. Wheel-harpsichords at the Imperial Court of Vienna: the ‘Automaton Kircherianum’ and Giovanni Valentini’s Geigenwerk K.5. Excursus: the clavicytherium and Caramuel’s other sound mechanisms K.6. Documentary appendix L. The Enlightenment myth of the scientifically optimal meantone tuning 1701-1864 L . 1. Introduction: a general view of the problem of temperament L .2. The two new directions of research L .3. First developments in England: Smith and Harrison (1749) L .4. The Padua school: Riccati and Barca L .5. The Montpellier Society of Sciences: Estève and Romieu L .6. Te illusory myth of an ‘optimal’ temperament L .7. Further 19th-century attempts: Fisher, Woolhouse, Drobisch, Ellis L.8. Conclusions 279 283 288 295 296 304 312 311 318 320 329 331 332 336 3 10 341 347 351 358 M. Still on the ‘best tempered’ musical system: querelles involving Estève, Romieu and other French academics c1740-1760 M. 1.
Estève vs Romieu: the progress of the controversy, and the mysterious disappearance of Estève M.2. The ‘best’ temperament, according to the acoustical evaluations of Estève and Romieu M.3. Bollioud, Rameau and equal temperament M.4. Jean Dumas and the scientific justification of the quarter-comma meantone tuning M.5. Documentary appendix 361 N. Suremain de Missery’s new theory of temperament following early investigations into auditory frequency discrimination 1810-1816 N. 1. The state of theory in 1810 and the birth of auditory frequency discrimination N.2. Two mathematical tools neglected by the French theorists: musical logarithms and exponential notation N.3. Analysis of Suremain de Missery’s four temperaments 395 362 368 374 377 381 396 398 400
8 N.4. Non-approbation of Suremain’s theory by the Paris Académie des sciences N.5. Conclusions: did Suremain achieve his aim? O. The beat-frequency calculation of tempered consonances: a long-standing physical-mathematical enigma 1630-1860 0.1. First order beats, i.e. those mechanically generated in the ear 0.2. Second order beats: i.e of neural origin, connected to the old ‘coincidence theory of vibrations’ O.3. Historical genesis of the early formulas concerning the beat frequency of tempered consonances: Smith and his followers O.4. Helmholtz and the jump from second-order to first-order beats 406 408 411 412 416 419 424 427 P. The linear approximations of equal temperament: P.F, Valentini (c1640) vs G.B. De Lorenzi (1870). With a possible application to Nicola Vicentino’s Archicembalo P.l. Correct geometric division vs Valentini’s traditional arithmetic approximation P.2. De Lorenzi’s arithmetic approximation, with and without his arbitrary ‘correction’ P.3. Evaluation of the precision of Valentini’s and De Lorenzi’s methods P.4. Calibration of De Lorenzi’s “Metrofono” P.5. Possible applications of De Lorenzi’s method to the Equal Tempered System 31 P.6. Overview of contemporary mechanical devices for the practical implementation of equal temperament P.7. Conclusions 428 430 433 434 435 438 Q. Mesolabe and sector: musical applications of two mathematical instruments 1558-1790 Q. 1. The mesolabe Q.2. The sector: its invention and use Q.3. Historical sectors provided with a Scala musica Q.4. Surviving sectors with a Scala musica Q.5. Conclusion 441 442 446 448 455 459 R.
The inharmonicity of musical string instruments 1543-2020 R. 1. The physics of the phenomenon and its mathematical description R.2. The inharmonicity of the vibrating string: historical development, including the contribution by J.-B. Mercadier R.3. Harpsichords and pianos: inharmonicity due to the resonances of the bridge and soundboard R.4. Pianos: ‘octave stretching’ and temperament ‘by perfect 5ths’ R.5. Instruments with fingerboard R.6. Documentary appendix 461 462 468 S. On three 18th-century pitch measurements: Sauveur, Stancari, and Sarti S.l. Excursus on the early 17th-century attempts S.2. Stancari’s toothed-wheel and his measurement of the Bolognese pitch (1706) S.3. The beat-rate method: Sauveur’s unsuccessful attempt (1701) S.4. Sauveur’s method revised: the successful approach of Sarti (1796) 439 475 479 483 490 495 495 497 501 503
9 T. Giuseppe Sarti on acoustics, tuning, and harmonic theory 1729-1802 T.l. More on Sarti as an acoustician T.2. The mathematical problem put forward by Sarti to the scientist Giordano Riccati (1776) T.3. Sarti and his Sistema fisico-matemtico dell’armonia. T.4. Enharmonic vs equal-tempered intonation T.5. Music composition techniques on a “numerical basis” T.6. Documentary appendix: Riccati’s solution of Sard's mathematical problem U. Paolo A. De Luca’s sonometer and the struggle for equal temperament at Naples 511 511 513 515 517 520 523 c1820-1880 U.l. De Luca, the musical acoustician: chronology of works U.2. Microcommas, Equal Tempered System 612, and continued ternary fractions U.3. De Luca’s tonometro and cordometro U.4. Diffusion of De Luca’s cordometro and the early appearance of equal temperament in Naples U.5. After De Luca: other tuning devices, in and outside Naples U.6. Excursus: the “Tonografo” by Luca De Samuele Cagnazzi (1841) 521 529 533 538 543 546 Works Cited 551 Author Name Index 581 |
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| id | DE-604.BV049370189 |
| illustrated | Illustrated |
| index_date | 2024-07-03T22:54:17Z |
| indexdate | 2024-07-10T10:02:50Z |
| institution | BVB |
| isbn | 9788849246018 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034630153 |
| oclc_num | 1389725701 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 591 pages illustrations (some color) 24 cm |
| psigel | BSB_NED_20231109 |
| publishDate | 2023 |
| publishDateSearch | 2023 |
| publishDateSort | 2023 |
| publisher | Gangemi editore SpA international |
| record_format | marc |
| series2 | Musical instrumental history |
| spelling | Barbieri, Patrizio Verfasser (DE-588)1031519882 aut Tuning and temperament practice vs science, 1450-2020 Patrizio Barbieri Roma Gangemi editore SpA international [2023] 591 pages illustrations (some color) 24 cm txt rdacontent n rdamedia nc rdacarrier Musical instrumental history Includes bibliographical references (pages 551-583) and index Texts in English, some of which translated from Italian Geschichte gnd rswk-swf Tuning / History Musical temperament Stimmung Musik (DE-588)4122368-8 gnd rswk-swf Temperatur Musik (DE-588)4184689-8 gnd rswk-swf Stimmung Musik (DE-588)4122368-8 s Temperatur Musik (DE-588)4184689-8 s Geschichte z DE-604 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034630153&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Barbieri, Patrizio Tuning and temperament practice vs science, 1450-2020 Tuning / History Musical temperament Stimmung Musik (DE-588)4122368-8 gnd Temperatur Musik (DE-588)4184689-8 gnd |
| subject_GND | (DE-588)4122368-8 (DE-588)4184689-8 |
| title | Tuning and temperament practice vs science, 1450-2020 |
| title_auth | Tuning and temperament practice vs science, 1450-2020 |
| title_exact_search | Tuning and temperament practice vs science, 1450-2020 |
| title_exact_search_txtP | Tuning and temperament practice vs science, 1450-2020 |
| title_full | Tuning and temperament practice vs science, 1450-2020 Patrizio Barbieri |
| title_fullStr | Tuning and temperament practice vs science, 1450-2020 Patrizio Barbieri |
| title_full_unstemmed | Tuning and temperament practice vs science, 1450-2020 Patrizio Barbieri |
| title_short | Tuning and temperament |
| title_sort | tuning and temperament practice vs science 1450 2020 |
| title_sub | practice vs science, 1450-2020 |
| topic | Tuning / History Musical temperament Stimmung Musik (DE-588)4122368-8 gnd Temperatur Musik (DE-588)4184689-8 gnd |
| topic_facet | Tuning / History Musical temperament Stimmung Musik Temperatur Musik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034630153&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT barbieripatrizio tuningandtemperamentpracticevsscience14502020 |