I want to second David's thought here. Although I have yet to put an historical temperament on a piano, since I started doing it on our harpsichords last month, it has generated great interest. I started with Werckmeister and Kirnbereger, and the harpsichord instructor REQUESTED that I try out Meantone. After twenty-five years of not addressing this matter, it is definitely a plus that I am now. Besides, continued education is consistent with the mission of the CAUT 's working environment: No matter how expert anyone is at what they do, we are all still students. Alan Eder -----Original Message----- From: Porritt, David <dporritt at mail.smu.edu> To: caut at ptg.org <caut at ptg.org> Sent: Thu, 29 Jan 2009 3:41 am Subject: Re: [CAUT] Claudio Di Veroli & Equal Temperament Jeff Wrote.... Big snip --- My number one and most important rejection of the idea of the implementation of historical temperaments is that it is completely beyond the scope of reality of expectation to impose that piano tuners should be expected to be experts in the realm of temperament history as it relates to musical composition. It simply isn't our call. Jeff Tanner While we needn't be experts on temperaments in different eras, (they all disagree on it anyway) I think we should be able to provide temperaments when asked. Our credibility as professionals is certainly enhanced if we can converse with people intelligently about these things. W e are tuners after all and we should have more than one product to offer. If a professor here says he wants a Vallotti temperament for a recital (or class or demonstration) I think it would be considered a reasonable request that I'm glad I can provide. I think my stature would diminish if I just replied “duh, ET or nothing”. dp David M. Porritt, RPT dporritt at smu.edu -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/caut_ptg.org/attachments/20090129/9acc4516/attachment-0001.html>
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