Bach-style keyboard tuning

Lindley, Mark; Ortgies, Ibo

doi:10.1093/em/cal065

Cited by 4 publications

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“…DOI http://dx.doi.org/10.11116/9789461661883.ch05 1 For example,Lindley (1987aLindley ( , 1997 Lindley and Ortgies (2006). may also be of interest.…”

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confidence: 99%

Introduction

Assis¹

2015

Experimental Affinities in Music

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In the 1990s Daniel Wolf talked about a "post-experimental" phase, meaning that "'experimental' refers to a type of music of a particular historical era, essentially, if not quite exclusively, the music of the fifties, sixties, and seventies stemming from Cage's 'hard' definition" (Gilmore 2014, 27). This era implies the operating and maintenance of a complex "experimental scene" that supports itself from within and that includes "the composers themselves, [and] mediating factors compris[ing] a complex network of festivals, foundations, academic institutions, venues, private patrons, performers, publishers, publicists, critics, musicologists, and so on" (ibid.). (5) "'Experimental' is all the interesting new music that isn't avant-garde" (Gilmore 2014, 28). [Michael Nyman's definition.] ical implications when one advocates and puts into action an "experimental attitude"? Or, formulated differently, Does experimental music (or experimentation in music) remain in a beautifully encapsulated limbo, independent of the world "out there," as suggested by Daniel Wolf 's definition, which seems based on an ivory-tower "experimental scene"? At the very end of his essay, Bob Gilmore (2014: 29) refers to the first question, stating, "As regards the work of older composers, I'm of the opinion that some music is inherently, not temporarily, experimental." What, then, is music that is "inherently experimental"? Reflecting on this question triggers many other related questions: Is there an experimental attitude recognisable in different times, styles, and places? Are there any detectable "experimental affinities" throughout music history? How do new artistic paths emerge through experimental performance or compositional practices? What is the character, function, and potential of experimentation in musical practice? How does experimentation shape artistic identity and expertise? These were the fundamental questions discussed at the International Orpheus Academy for Music and Theory in the

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“…DOI http://dx.doi.org/10.11116/9789461661883.ch05 1 For example,Lindley (1987aLindley ( , 1997 Lindley and Ortgies (2006). may also be of interest.…”

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confidence: 99%

Introduction

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2015

Experimental Affinities in Music

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“…DOI http://dx.doi.org/10.11116/9789461661883.ch051 For example,Lindley (1987aLindley ( , 1997 Lindley and Ortgies (2006). may also be of interest.2 During his two presentations at the Orpheus Academy 2011, several music examples were played on the harpsichord.…”

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confidence: 99%

Testing Respect(fully): An Interview with Frederic Rzewski

Vaes¹

2015

Experimental Affinities in Music

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In the 1990s Daniel Wolf talked about a "post-experimental" phase, meaning that "'experimental' refers to a type of music of a particular historical era, essentially, if not quite exclusively, the music of the fifties, sixties, and seventies stemming from Cage's 'hard' definition" (Gilmore 2014, 27). This era implies the operating and maintenance of a complex "experimental scene" that supports itself from within and that includes "the composers themselves, [and] mediating factors compris[ing] a complex network of festivals, foundations, academic institutions, venues, private patrons, performers, publishers, publicists, critics, musicologists, and so on" (ibid.). ( 5)"'Experimental' is all the interesting new music that isn't avant-garde" (Gilmore 2014, 28). [Michael Nyman's definition.] 9This typology, succinctly but rigorously proposed by Bob Gilmore, situates itself in an "experimental world," which is inspired by the thought of the sociologist Howard S. Becker (see Becker 1982), but crucially remains musically (and not sociologically) oriented. Even if limited to music from the twentieth century, it is a most useful typology both from the viewpoint of historical musicology as well as from the perspective of composers, providing a common framework of reference to diverse practices. Two complementary questions become inescapable: (1) Was there no experimentation in music before the twentieth century? and (2) Are there no political implications when one advocates and puts into action an "experimental attitude"? Or, formulated differently, Does experimental music (or experimentation in music) remain in a beautifully encapsulated limbo, independent of the world "out there," as suggested by Daniel Wolf 's definition, which seems based on an ivory-tower "experimental scene"? At the very end of his essay, Bob Gilmore (2014: 29) refers to the first question, stating, "As regards the work of older composers, I'm of the opinion that some music is inherently, not temporarily, experimental."What, then, is music that is "inherently experimental"? Reflecting on this question triggers many other related questions: Is there an experimental attitude recognisable in different times, styles, and places? Are there any detectable "experimental affinities" throughout music history? How do new artistic paths emerge through experimental performance or compositional practices? What is the character, function, and potential of experimentation in musical practice? How does experimentation shape artistic identity and expertise? These were the fundamental questions discussed at the International Orpheus Academy for Music and Theory in the

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A Brief Overview of the History of Temperament

Kalender

Barış

2022

Sanat Ve Tasarım Dergisi

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This study is a review article and aims to examine the historical development process of equal temperament, known as the tuning system of piano and fixed-fretted instruments. Temperament is briefly defined as changing musical intervals from their counterparts in the natural (Just Intonation) scale at certain rates. As of the end of the 1300s, it is known that most keyboard instruments were tempered. The first method described in writing is the temperament called “mean-tone”. In this method, importance was given to the thirds being natural or close to nature, on the other hand, the fifths were slightly lowered. In the mean-tone temperament, some intervals which are excessively high or low and the presence of unusable scales has led to the emergence of irregular temperaments. Although there are more than one interval with the same name in irregular temperaments, this method has been applied to keyboard instruments for about two centuries, since all scales can be used. Even when using mean-tone temperament and irregular temperament, the importance and necessity of equal temperament has always been a subject advocated by theorists. Though equal temperament began to be practiced on fretted instruments in the 1570s, it was accepted much later in keyboard instruments. The cent system, which was introduced by Alexander J. Ellis in 1876, is a turning point in the calculation of equal temperament. With the spread of 12-tone music in international art music in the 20th century, unequal temperaments came to an end, and it was accepted as a common tuning system for keyboard and fretted instruments.

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Bach-style keyboard tuning

Cited by 4 publications

References 2 publications

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Testing Respect(fully): An Interview with Frederic Rzewski

A Brief Overview of the History of Temperament

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