Re:Historical Temperaments

Some of the many remarks about meantone and equal temperament in the
digest 1131 are treated in the 'History of Equal Temperament' and
'History of Meantone Temperament' Appendices written by Ellis in his
translation of H. von Helmholtz's 'On the Sensation of Tone' (Dover
Edition). The following points Ellis brings out are relevant to the
discussion.

1) Broadwood's remarks relate only to ET's introduction to England. 1811
is the year he wrote an article describing and advocating it in England.
He claimed it was in general use but it is clear that he must have meant
that in reference to continental Europe which England had been separated
from by the Napoleonic wars. In fact ET was not generally used for
pianos in England until 1846, and no English organ was tuned to ET even
by the time of the (British) Great Exhibition of 1851.
2)Prior to the publication by Mersenne of the correct frequency ratios
for ET in 1636 it would have been practically impossible to tune in ET.
Subsequent to that time it spread through continental Europe. Mersenne,
the founder of physical acoustics, discovered harmonics and beats
between them and the history of the use of beats to tune in ET is
unknown to me, but exact rules for ET tuning are relatively unimportant.
First of all, of course, tuning is never exact. Second of all the St.
Jacobi-Kirche organ in Hamburg was tuned to ET as early as 1688 which
suggests that at least one practical method for tuning in ET based on
Mersenne's discoveries was already known. Third, von Helmholtz (p.321 of
Dover Edition) quotes Marpurg who quotes Kirnberger, a pupil of J.S.
Bach, that he required all major Thirds to be sharpened, and this can
only mean sharpened with respect to MT which is 14 cents flatter the ET.
This is important not only to show Bach's preferences, but to indicate
how clavier tuners probably tuned in ET as a practical matter at that
time (pre 1750). Furthermore, Bach's son Emanuel is quoted in 1753 as
declaring ET as 'required' for the 'true art of playing the clavier'.
3) There is no doubt that all the great masters of the classical period
considered ET to be the ideal. (There are also remarks about this by
Charles Rosen in, I believe, his 'The Classical Style'.)

Some further personal opinions:
ET, of course, had nothing at all to do with any bad influences of the
industrial revolution, over-idealizations of science, etc., which many
people unfortunately seem to imply; these masters were strong minded
intellectually and knew what they wanted aesthetically. They were not
brainwashed followers of popular enthusiasm but aesthetic leaders. I am
also happy to stand with them in disagreeing with the remark often made
here and elsewhere that ET is some sort of a 'compromise' system of
tuning. ET is certainly not and should not be considered in the same
league as MT which is a compromise. ET was a great discovery-both
aesthetic and scientific-and without it, Western music could not have
achieved its unique glory. These remarks notwithstanding , I also think
that the exploration of alternative systems as discussed by this group
and the playing in MT of pieces meant to be plated in MT is great
(although I could do without the accompanying numerology which is
physically and physiologically meaningless).

Ed Remler

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In a message dated 97-07-14 02:24:15 EDT, you write:

> Neil Haverstick's jab at theorists deserves a reply.
> Neil, music theory is done by theorists. Some of them may also play and
> compose music, but they should be no more required to produce music you
> like than you should be required to produce coherent theories. Would you
> require a theoretical physicist to produce experimental results also?
>
> John Starrett

One also might point out that the list IS about Tuning in theory AND
practice. I think Neil is just trolling for flames. Poke an insult at
the list to see if he can get people pissed off and maybe start a
flame war. He does this every couple of weeks with veiled references
like: 1. microtonalists can't play music, maybe even as well as him,
2. microtonalists are not spiritually connected through music, as well as
for example as him, 3. microtonalists can't compose, they don't
meet up to his lofty standards - they just noodle.

I can't believe that anyone would set themselves up for such intense
examination.

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