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Indlæser... How Equal Temperament Ruined Harmony (and Why You Should Care) (original 2007; udgave 2008)af Ross W. Duffin
Work InformationHow Equal Temperament Ruined Harmony (and Why You Should Care) af Ross W. Duffin (2007)
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What if Bach and Mozart heard richer, more dramatic chords than we hear in music today? What sonorities and moods have we lost in playing music in "equal temperament"--the equal division of the octave into twelve notes that has become our standard tuning method? Thanks to How Equal Temperament Ruined Harmony, "we may soon be able to hear for ourselves what Beethoven really meant when he called B minor 'black'" (Wall Street Journal). In this "comprehensive plea for more variety in tuning methods" (Kirkus Reviews), Ross W. Duffin presents "a serious and well-argued case" (Goldberg Magazine) that "should make any contemporary musician think differently about tuning" (Saturday Guardian). No library descriptions found. |
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While Duffin covers trends in the modern performances of Renaissance & early classical music that include a return to non-equal tempered scales, I'm disappointed that there's no discussion of the various 20th and 21st century composers who have used just intonation tunings in their music. There are many. Some created new acoustic instruments to play music using unusual intervals and tunings. These include the pioneering Harry Partch, as well as Ellen Fullman, Kraig Grady, among others. Others made compositions for traditional instruments tuned in just intonation. These include Lou Harrison, Ben Johnston, Pauline Oliveros, James Tenney, again, among others. Still others use electronic instruments and/or software to make create music in just intonation.
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