early techniques for tuning e.t.

[Dennis Johnson]

At 11:16 AM 10/4/95 -0600, Stephen Birkett wrote:
>I'm interested in the development of techniques for tuning equal
>temperament (by ear) throughout the 19th C. Specifically:
>
>  A. What methods were used to set equal temperament?
>  B. What tests were done to check the temperament?
>

___________


        Obviously, this is huge topic and you will probably get many
referrals to Owen Jorgensen's last book, "Tuning", which is the best single
reference source of this history, at least in English. You definitely need
that book, and get one before they are gone, the run was only 3000.  The
second best source in English, IMHO, is the work of A. Ellis. Actually Owen
relies heavily on Ellis, but naturally, there is much he doesn't tell in
that book. As you might expect, specific information we have regarding the
temperament preferences of famous composers is scant and imprecise. The
information I have been able to dig up regarding Chopin and Beethoven, for
example, is interesting, but not specific enough to attach their name to
any one formula. If this sounds frustrating, as it may, that is really a
misunderstanding. All of these infinite formulas, with some study and
practice, in the end will be reduced to a philosophy of style. The best
tuners, then as now, will tailor this style to best fit that particular
instrument in a way that is consistent with the tuners own bias, the
players taste, and the music in mind. That's about as precise as it gets.
        I suggest further that even if we could reproduce an authentic
temperament from the 19th century, this would not be an authentic
experience. That may be self-evidently simple, but perhaps not. 19th
Century musicians were weaned on a meantone mentality, 20th Century
musicians are weaned on ET. Naturally, these musicians will have different
perspectives of the same experience. In the 19th Century, the perception of
color was probably a little exaggerated from reality. Today, many pianists
cannot tell ET from Well, even when informed, and I have yet to see one
recognize Victorian Temperament. My point is that when you desire a
reasonably authentic experience, do not be afraid to exaggerate.

        I believe the significance of D-A in the 19th Century is that
usually this tended to be the fastest beating fifth in the temperament.
Owen has asked why D Maj. is always associated with majesty, triumph and
stateliness. My theory is that generally D-A by the late 18th Century, was
the one fifth left which most closely, or consistantly, resembled the
meantone fifth. Remember that in the 18th Century a *really* just fifth was
the meantone fifth!  This supports my theory that their real perceptions of
musical color were tinted by associations from early experience. A
particularly clever technique was to set D-A equal beating to F-A.

        That is more than enough for now. Its time go with an historical
thread for a while, IMO.

Dennis Johnson
johnsond@stolaf.edu
St. Olaf College