44 cents low or A428

[ROGERIO CUNHA]

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To the list
The 14 pages document read by SyZabrochi is par of a book published by =
Schiller Institute "A Manual on the Rudiments of Tuning and =
Registration" . According to this book the fundamentally characteristic =
features of natural music are:
1 - bel canto vocalization
2 - voice-registration
3 - a well-tempered scale with C set approximately 256 cycles.
"The necessity of well-tempering, or bel-canto, and middle C set =
approximately at 256 cps, was, in each respective instance, discovered =
centuries, or even, perhaps, millennia ago. These characteristic feature =
of the musical universe are, like the existence of mankind, natural =
phenomena, not something whose existence requires academic midwifery.
...........
Musical science begins with the subject of singing. Since the adult =
singing-voice species ( soprano, mezzosoprano, tenor, etc) are =
naturally, biologically determined, musical science starts here, focused =
upon what is demonstrated, by crucial experiment, to be well-tempered =
polyphony.
.........
Bel canto is demonstrated to be nothing but the human being's most =
natural, relatively least-effort, most efficient method of speaking and =
singing, by virtue of the biologically determined characteristics of the =
health expression of human genotype. This was proven experimentally by =
musicians no later than a Half-millenium ago, and almost certainly much =
earlier then that.
....
The vocalization of classical poetry, according to elementary bel canto =
principles of vocalization, is song. The participation of singers =
representing two or more of biologically determined species of singing =
voices ( soprano, tenor, etc.) is the essence of Classical well-tempered =
polyphony.
......
The extreme ranges of the voice, for each species, have certain =
approximate upper and lower limits, for most of the trained voices in =
the singing population; by exception, some trained adult singers may =
command extended ranges. Once we apply these natural, =
crucial-experimental facts to the canonical-polyphonic vocalization ( =
bel canto) of any singable piece of Classical poetry, we force upon the =
wholly body of musical science the crucial- experimental proof, that THE =
MUSICAL SCALE MUST BE BASED UPON THE NATURAL BEL CANTO CHARACTERISTICS =
OF HEALTHING SINGING, upon Johann Sebastian Bach's well tempered =
polyphony, upon the natural fixed characteristics of voice registration =
respecting each biologically determined species of singing voice, and =
upon a value of middle C of approximately 256 cycles.
After that, and no earlier, we consider the man-made musical =
instruments. As a pratical matter, we delimit the span of our study to =
the development of instruments during the recent 500 years, =
approximately. Although stringed instruments ( e.g. the lyre, woodwinds, =
and horns of one form or another), extend into very ancient story, we =
lose nothing on principle, if we limit our attention to the main lines =
of development of keyboard and Classical orchestral chests of =
instrumental voices over a period begining with the adulthood of =
Leonardo da Vinci, and concludind, aproximately at the begining of the =
1814-15 Congress of Vienna. That "chest'of keyboard and orchestral =
instrument, wich emerged as a standard over the period from J > Bach's =
work at Leiozig up until the Congress of Vienna, is taken as our =
standard of reference for definig matters posed in respect to the =
strictly Classical anti-Romantic tradition associated factionally with =
such names of J.S.Bach, Haydn, Mozart, Beethoven, Schubert, Chopin and =
Brahms.
These instruments, designed for a well-tempered scale pivotes upon =
C=3D256, were developed in imitation of those characteristics of the =
cheast of bel canto voice-species wich we have identified above. Thus, =
to the degree both composer and performer grasp, more or less =
seccessfully, the practical implications of these connections, =
everything (bearing on principles) wich is to be said of the intent and =
chatracteristics of instrumental performance, is subsumed by natural =
voice principles."
Rogerio Cunha - IC Member of the Guild - Rio - Brasil

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