Lehman/davinci codes

Posted by: "friederich_stellwagen" ibo.ortgies@hsm.gu.se friederich_stellwagen
Mon Nov 13, 2006 7:21 am (PST)
--- In tuning@yahoogroups.com, "Tom Dent" <stringph@...> wrote:
>
> --- In tuning@yahoogroups.com, Afmmjr@ wrote:
> >
> > musicologists are the ones that believe Johann Sebastian Bach is in
> equal temperament,
[...]
> Still believe Bach goes with 100% Werckmeister-Three and nothing else?
> That, if you like, is the modern 'historical' orthodoxy, not ET.

> ~~~T~~~

“I agree with Thomas - all theoretical (historoical or modern)
temperament models designs have never been shown to be related to
Bach.” Ibo
JR: I must disagree with the two of you. Werckmeister III was a template for a well-temperament for a full set of 12 major and minor keys. Everything else is comparatively either an alternative, or a “paper” temperament. More experience with this tuning would give support, as would an honest reappraisal of the information we have of the suspected tunings of the organs in each of the Bach cities (Weimar, Arstadt, Mulhausen, Cothen, Leipzig). It all leaned towards Werckmeister III as the template for the “chromatic” composer.
Besides, you have to use something to play a Brandenburg concerto. Please refer to PITCH CD P-200202 to hear what these results offer. Werckmeister, himself, is quite the tonal C-major composer (as evidenced by his only extant large work on the CD).
Tom, this has more to do with ethnomusicology than it does with religion.

Ibo: Until today there is not a single piece of evidence, that allows us to
state which temperament Bach might have preferred at any time. This is
also the view hold within Bach-scholarship.

JR: This can perhaps be termed a case of “musicological denial.” I’m sorry to be disagreeable, but I cannot except Ibo’s absolute and rigorous response to Chris that,
Ibo: “in the arts yes, but here we are dealing with questions of history and the
(appropriate) methods of historical research, i.e. methods accepted
within the scholarly/scientific community. Historical information can then be applied in arts - and it is free for the artist to make an informed choice.

JR: This artist has done that, only it was a long time ago. Musicology needs an election to shake things up, like the recent Congressionals.
Charles Lucy: This Lehman tuning/Divinci Code fiasco demonstrates how easy it is to
misread and/or misinterpret historical "documents".

Despite this it seems that I got the Harrison figures right, which
incidentally provide a very good alternative tuning system to play
everything Bach ever wrote.

Whether this is an improvement on 12tET for Bach compositions is
debatable, but it sounds good to my subjective ears;-)

Charles Lucy -lucy@lucytune.com
JR: To Bradley, this is what I meant as unfortunate, the fact that “anything” can be used for Bach, as clearly stated by Charles Lucy (who can be congratulated on his working with the early Harrison text). This is an attitude that springs from an “it could be anything” attitude felt by Neil Haverstick, moving ever away from believing it possible to determine. And sure, Coltrane in 14-tone equal would be fine as well, as least as an experiment. We are long past the "experiment" stage with Bach.
Incidentally, I was thinking of musicologists Rudolf Rash and Murray Barbour, who both claimed equal temperament for Bach.
But if one had to program the Brandenburg concerti, how would one tune the harpsichord? Wouldn’t Werckmeister III make the most sense from a cultural and period point of view? (Guess I have clearly answered this rhetorical.)

________________________________________________________________________
Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more.