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<DIV><FONT color=#000000 size=2>To the list</FONT></DIV>
<DIV><FONT size=2>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:</FONT></DIV>
<DIV><FONT size=2>1 - bel canto vocalization</FONT></DIV>
<DIV><FONT size=2>2 - voice-registration</FONT></DIV>
<DIV><FONT size=2>3 - a well-tempered scale with C set approximately =
256
cycles.</FONT></DIV>
<DIV><FONT size=2>"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.</FONT></DIV>
<DIV><FONT size=2>...........</FONT></DIV>
<DIV><FONT size=2>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.</FONT></DIV>
<DIV><FONT size=2>.........</FONT></DIV>
<DIV><FONT size=2>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.</FONT></DIV>
<DIV><FONT size=2>....</FONT></DIV>
<DIV><FONT size=2>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.</FONT></DIV>
<DIV><FONT size=2>......</FONT></DIV>
<DIV><FONT size=2>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.</FONT></DIV>
<DIV><FONT size=2>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.</FONT></DIV>
<DIV><FONT size=2>These instruments, designed for a well-tempered =
scale pivotes
upon C=256, 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."</FONT></DIV>
<DIV><FONT size=2>Rogerio Cunha - IC Member of the Guild - Rio -
Brasil</FONT></DIV></BODY></HTML>