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Re: Lehman tuning/Da Vinci Code

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  • friederich_stellwagen
    ... [...] ... I agree with Thomas - all theoretical (historoical or modern) temperament models designs have never been shown to be related to Bach. Closest
    Message 1 of 8 , Nov 13, 2006
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      --- 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. Closest might have been Neidhardt, but even that connection is
      also not strong enough and the famous quote from after Bach's death by
      his son-in-law Altnickol (about the temperament of the
      Hildebrandt-organ in Naumburg, St. Wenzel) allows such a broad margin
      of interpretations that it can't pass mere speculation.

      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.


      Kind regards

      Ibo
    • friederich_stellwagen
      ... Hi, 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
      Message 2 of 8 , Nov 13, 2006
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        --- In tuning@yahoogroups.com, "Cris Forster" <cris.forster@...> wrote:

        >> --- In tuning@yahoogroups.com, Afmmjr@ wrote:

        >> A thank you to Ibo Ortgies for leading a charge, though damage has
        >> already been done. There were so many holes in Lehman's assertions
        >> that one must wonder "why" it was published, and under peer review!

        > In the arts, as opposed to the sciences, discoveries are not subject
        > to review.

        > Cris Forster, Music Director
        > www.chrysalis-foundation.org


        Hi,

        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.


        And in view of the Lehman-speculation one might have a look to the
        link at the end of the following posting:
        http://listserv.albany.edu:8080/cgi-bin/wa?A2=ind0611&L=hpschd-l&D=0&O=D&T=0&P=15635

        Kind regards

        Ibo Ortgies
      • threesixesinarow
        ... Young s reproduced there looks different in original context, with pictures and stuff, http://gallica.bnf.fr/ark:/12148/bpt6k55895x/f164.table ( Outlines
        Message 3 of 8 , Nov 13, 2006
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          --- In tuning@yahoogroups.com, "Tom Dent" <stringph@...> wrote:
          >
          >
          > Hi - Anyone interested in Werckmeister's 1698 keyboard tuning
          > instructions?
          >
          > Says quite explicitly (for one thing) that the fifths are to be
          > tempered rather less than 1/4 comma.
          >
          > Here:
          >
          > http://harpsichords.pbwiki.com/Tuning

          Young's reproduced there looks different in original context, with
          pictures and stuff,

          http://gallica.bnf.fr/ark:/12148/bpt6k55895x/f164.table

          ("Outlines of Experiments and Inquiries respecting Sound and Light"
          page 106, part xvi - "Of the temperament of musical intervals" p.143;
          the 1788 volume isn't listed there, though...)

          Clark

          > --- In tuning@yahoogroups.com, Afmmjr@ wrote:
          > >
          > > Musicologists have been failing music and the people making music
          > for a very long time. There are so many examples to name. (...)
          >
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