Klarinet Archive - Posting 000643.txt from 1999/03

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: RE: [kl] Pitch over the years
Date: Thu, 11 Mar 1999 12:02:46 -0500

If there was a choral singers' list, it certainly shuld be debated
there. Is there one?

Roger Shilcock
On Wed, 10 Mar 1999, Edwin V. Lacy wrote:

> Date: Wed, 10 Mar 1999 17:24:47 -0600 (CST)
> From: "Edwin V. Lacy" <el2@-----.edu>
> Reply-To: klarinet@-----.org
> To: klarinet@-----.org
> Subject: RE: [kl] Pitch over the years
>
> On Wed, 10 Mar 1999, Steven J Goldman, MD wrote:
>
> > As today, the string and wind players would try to keep intervals pure
>
> It is with a great deal of trepidation that I post this comment, as this
> is likely to re-open the "Great Tuning and Temperament War." But,
> acoustical study after acoustical study has shown that that is *not* what
> musicians do in performance. There are references in Carl Seashore's
> "Pshycology of Music" from the late 1930's, and in "The Acoustical
> Foundations of Music" by John Backus from the mid-1960's. There are many
> others. We have fought this battle several times on the flute list and
> the doublereed list. I can't remember which re-hashing of it is which, or
> whether we have already covered the topic on KLARINET.
>
> Let me try a different approach to the question. Can anyone supply any
> research or even any speculation as to the origins of the deep-seated
> belief of many musicians that "pure" intervals are some kind of panacea or
> ideal? I've read many times that experiments have been unable to confirm
> the supposed advantage of such temperaments, but many people will disagree
> with these assertions, even in the absence of coroborating evidence for
> their position. What is the history of this point of view?
>
> Ed Lacy
> el2@-----.edu
>
>
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