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useless temperaments

🔗Paul Rapoport <rapoport@...>

12/7/1997 3:19:27 PM
I don't agree with G. Gibson either. Distinguishing notes, intervals,
melodies, and so on in many systems with smaller intervals than 19-tET is
not a problem in many contexts. Perhaps he meant something else and would
clarify.

To say 22-tET is useless suggests only that he has never used it. Another
clarification, perhaps? Many people have declared of no interest various
tunings simply because they don't fit their requirements. The requirements
aren't universal.

In his 1973 book, for example, Eric Regener dismissed all positive tunings
(P5 greater than 700 cents) because of a non-universal assumption about
"regular" tunings. This doesn't invalidate the rest of his book, because
you can take or leave his approach on that matter.

Paul Rapoport


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🔗mr88cet@texas.net (Gary Morrison)

12/9/1997 1:59:04 AM
>19th century tuning by ear was a highly developed=0A=0Aart based=
> on aesthetic judgments for every tone, and test chords were=0A=0Aused mo=
>re than test intervals. By contrast, 20th century tuning is a=0A=0Amathe=
>matical skill."

That strikes me as a surprising conclusion. I say that for two reasons:
1. Certainly pianos have been able to be tuned to equal temperament before any
20th century technology was applied to it. It seems surprising that the
same nontechnological methodologies couldn't be applied to 17th-century
clavichords.
2. Clearly there was one very easily available tuning device by which to tune
a clavichord to equal temperament, so that it will match a lute. That
tuning reference device is the lute itself.

Bear in mind of course that I'm just speaking in terms of what seems
possible; I certainly don't by any means claim to be an expert on 17th
century clavier tuning practices.


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