Dear Howard Posner,
Thank you for your considerate reply. On reflection, when I've a bit of time
I will, in fact, tunnel into my archives and dig out some the sources I had in
mind (especially those suggesting Roman pitch at around 400 rather than 380).
To an extent some are identified in
As long as we're on the subject, curious minds might check out
www.schillerinstitute.org/music/petition.html#unique_experiment
for a peculiar modern pitch controversy with some unlikely names
attached. Here's a sample:
> The Campaign To Lower the Tuning Pitch
>
> On April 9, 1988 at a co
On Dec 10, 2007, at 1:44 AM, LGS-Europe wrote:
> Or for singers: in the Paris' Opera a' was 423Hz in 1810, and had
> risen to 431.7Hz by 1822. The singers complained and had it brought
> down to 425.8Hz. This lasted only 5 years; in 1830 it was back at
> 430.8Hz and continued to rise.
Georg
On Dec 10, 2007, at 12:56 AM, Martyn Hodgson wrote:
> As said: I don't really see why I should go to the considerable
> trouble of listing the many scholarly papers and books which have
> dealt with this question in depth (Haynes is but one) since Ellis's
> pioneering work was published in
Indeed and this is the very point I wished to put across to those who appear
to think there was some such thing as an established 'roman' pitch.
MH
LGS-Europe <[EMAIL PROTECTED]> wrote:
And I forgot the best quote from the Grove article:
The concept of a precise and universal rela
As said: I don't really see why I should go to the considerable trouble
of listing the many scholarly papers and books which have dealt with this
In some usages Rome pitch was considerably higher than current A440
I wrote:
This is tantalizing (assuming you're talking about 17th-century
Ro
As said: I don't really see why I should go to the considerable trouble of
listing the many scholarly papers and books which have dealt with this question
in depth (Haynes is but one) since Ellis's pioneering work was published in
1880. Especially so when the point being made was simply th
Although I am in the minority on pitch, I feel that the so called
pitch of the organ is not relevant, as they used
a transposing system through the 17th century and in to Bach's time.
The idea that the actual key on the keyboard is "A" is the same as
saying that the top string on the lute
is "G"
Martyn Hodgson wrote:
> In some usages Rome pitch was considerably higher than current A440
I wrote:
> This is tantalizing (assuming you're talking about 17th-century
> Rome). Where in Rome was pitch high? And who documented it?
On Dec 9, 2007, at 12:12 AM, Martyn Hodgson wrote:
> As I said,
As I said, I wished to point out that the picture on pitch was far from
simplistic even within one region. However I really don't think I should need,
or indeed bother, to duplicate the journals and other published work on pitch -
do you?
MH
howard posner <[EMAIL PROTECTED]> wrote:
On Dec 7, 2007, at 11:57 PM, Martyn Hodgson wrote:
> In some usages Rome pitch was considerably higher than current A440
This is tantalizing (assuming you're talking about 17th-century
Rome). Where in Rome was pitch high? And who documented it?
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I think there is a danger of inventing a nonexistent genre. Perhaps
in this case there really is a Roman Archlute, but lutes often pop up
in sub-genre fads, then some makes the "first recording", and so on.
If there was one common pitch and one type of archlute in Rome, that
would be interestin
As said,
all depends on place, time and usage (opera, church, domestic etc..).
As also said, much has been researched and you may care to look in the many
journals
MH
howard posner <[EMAIL PROTECTED]> wrote:
I believe both Doni and Mersenne wrote that pitch in Rome was
conside
I believe both Doni and Mersenne wrote that pitch in Rome was
considerably lower than in Northern Italy, though I'm afraid I'm no
use at all in citing those sources.
>> Thank you for this. I'm not sure where Andreas gets his
>> information about Rome pitch
> Andreas wrote:
> The pitch (cho
Dear Martyn
Thank you for this. I'm not sure where Andreas gets his information about
Rome pitch
Andreas wrote:
The pitch (chorista si San Pietro) was ca. 380 Hz.
Did churches 'own' large lutes, like baroque opera houses had their own
theorboes? If so, a pair of 70-odd cm archlutes would m
Thank you for this. I'm not sure where Andreas gets his information about
Rome pitch - as you'll no doubt know it varied not only between dfifferent
Italian cities but also between usage: opera, church, domestic etc and, of
course, between different periods. In some usages Rome pitch was c
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