Welcome to European Tribune. It's gone a bit quiet around here these days, but it's still going.
Display:
Heh, I felt I had to write something about temperament after your previous comments on the subject--you know, one of the things about writing these diaries is that I'm learning a lot while searching for pieces, all the info about ratios and temperaments came from that--

Timbre was covered in Part V (a co-production with Greg Whitman.)  You're right about all the things that could be said--these diaries are long but there's a lot I leave out; my idea is that I'll take one track and in the comments others can follow others--widen the range, head in different directions, that kind of thing.

With videos if possible, so that there are sounds to match words (or just sounds!)

I'm planning to do twelve diaries--next up I'm not sure, maybe Ornament, or Form & Function; there's also Major/Minor--

But yeah, I don't want it to all become too technical--more music, less words about music, but I'm also interested in the mechanics of sound production--and have become more so through writing the diaries.  Here's a find I enjoyed but didn't put in the diary--I'm sure you know all this already, so this is just an excuse to post it!

The mythical story of how Pythagoras worked out that sounds came in ratios:

According to legend, the way Pythagoras discovered that musical notes could be translated into mathematical equations was when one day he passed blacksmiths at work, and thought that the sounds emanating from their anvils being hit were beautiful and harmonious and decided that whatever scientific law caused this to happen must be mathematical and could be applied to music. He went to the blacksmiths to learn how this had happened by looking at their tools, he discovered that it was because the anvils were "simple ratios of each other, one was half the size of the first, another was 2/3 the size, and so on."

http://en.wikipedia.org/wiki/Pythagoras#Musical_theories_and_investigations

If you find any videos of pieces played on well-tempered instruments, esp. two different keys on the same instrument--please post them; it would be great to hear the difference (answering the question: "Why do composers talk of the 'mood' of a key?"  My very limited experience with a harpsichord says that E Major is the brightest--)...it would be great to have some video examples to listen to.

Don't fight forces, use them R. Buckminster Fuller.

by rg (leopold dot lepster at google mail dot com) on Wed Apr 30th, 2008 at 10:34:23 AM EST
[ Parent ]

Others have rated this comment as follows:

DoDo 4

Display:

Occasional Series