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How Equal Temperament Ruined Harmony (and…
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How Equal Temperament Ruined Harmony (and Why You Should Care) (original 2007; udgave 2008)

af Ross W. Duffin

MedlemmerAnmeldelserPopularitetGennemsnitlig vurderingOmtaler
1952138,235 (3.75)1
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).… (mere)
Medlem:ChrisBriden
Titel:How Equal Temperament Ruined Harmony (and Why You Should Care)
Forfattere:Ross W. Duffin
Info:W. W. Norton & Company (2008), Paperback, 208 pages
Samlinger:Music History, Theoretical Treatise, Dit bibliotek
Vurdering:
Nøgleord:music history, temperament

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How Equal Temperament Ruined Harmony (and Why You Should Care) af Ross W. Duffin (2007)

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This is a good basic introduction to the history of the development of equal temperament, with a focus on the problems this creates for performing music, especially works created before the acceptance of equal temperament. However, for many readers, the lack of audio supplements will render much of the details of various tuning systems meaningless. For many casual listeners the distinctions Duffin discusses may just seem esoteric.

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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  hrebml | Sep 5, 2019 |
Well written book, technically not a treatise, not written in a scholarly manner but still informative. RWD makes a good argument for non equal temperament.
  ChrisBriden | Nov 17, 2013 |
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The rationale is, that if people who are taught music are taught that one thing is right and another wrong, they will come to believe it. If they are taught the other systems of interest as well as the equal temperament, they would appreciate the excellences of all.
R. H. M. Bosanquet, An Elementary Treatise on Musical Intervals and Temperament (1876)
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The audience hung on every word uttered by the silvermaned maestro.
If modern string players are taught anything about varying tuning from ET, they are taught that "leading notes should lead."
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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).

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