Tuning Fork A-432HZ

2017

Tuning and temperament: practice vs science 1450-2020, 2023

Until now, the problem of tuning instruments has been mainly viewed as an aspect of a phylologically correct performance practice. Besides several chapters dealing with this important latter aspect, the volume also devotes ample space also to the evolution of the tuning problem from a purely scientific point of view, starting ftom the Scientific Revolution and more particularly during the Enlightenment, with the decisive development of a new science: "Acoustics". It consists of a series of articles, most already published in Italian, presented here in English translation − revised, restructured, partly rewritten, expanded (in some cases radically) − and distributed over 21 chapters.

Over the last 10 years an increasingly widespread discussion on the topic of the concert pitch 432Hz has given birth to a variety of experiments, research and all sorts of conjectural considerations. If you search '432Hz' on the internet nowadays you will be presented with a massive number of links, far more than I was able to find when I first became interested in the topic, around 2004. Some of the pages you'll find provide a well thought and researched presentation, others are inconsistent and approximate.

Performance Practice Review, 1994

The tuning fork and the “Soundtherapy”, 2017

The knowledge of the magic effect of the 440 Hz is really ancient. "The music cannot improve without science". Pronounced fifty years ago, nowadays this sentence appears almost obvious. John Pierce, the pioneer of musical electronic, well explains the meaning of this sentence The "sound therapy" stimulates the capacity of the human body to heal itself; in fact, through the irradiance of the sound it would happen the Energetical System, phenomenon called in this way by "specialists".

1995

s from the Belfast International Verdi Congress (pt. 2) Roberta Montemorra Marvin University of Alabama David Rosen Cornell University Linda B. Fairtile New York University Mary Ann Smart University of California, Berkeley Mary Jane Phillips-Matz New York City See next page for additional authors Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons This Article is brought to you for free and open access by UR Scholarship Repository. It has been accepted for inclusion in Verdi Forum by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Recommended Citation Marvin, Roberta Montemorra; Rosen, David; Fairtile, Linda B.; Smart, Mary Ann; Phillips-Matz, Mary Jane; and Mossa, Carlo Matteo (1995) "Abstracts from the Belfast International Verdi Congress (pt. 2)," Verdi Forum: No. 22, Article 4. Available at: http://scholarship.richmond.edu/vf/vol1/iss22/...

We will see, for instance, that Schrieber (in the 15th century) and Fogliano (in the early 16th) each described tuning schemes with 5ths tempered by half a comma (an amount which would make such an interval sour), and that in the 18th century, Kirnberger was vigorously criticized (by Sorge) for offering an equally crude prescription. **According to Boethius (in the first chapter of his Institutione arithmetica), musica was one of the four mathematical disciplines (the quadrivium), distinguished from each other by the following criteria:

2017

This thesis is an exploration of instrumental tuning trends from Bach to 21 st Century, considering different areas of musicological and acoustical studies. While the introduction brings us in a tuning continuum with brief explanations from the origins, the first chapter details the controversial acoustic theories of Hermann Helmholtz and Bernhard Riemann over various tuning temperaments. Considering baroque temperaments having a contoured profile in between all historical tunings, the present work builds the special interest for the most influential schemata, which impacted classic and contemporary tunings. The second chapter makes a case for Werckmeister's well-tempered tunings and the mathematical approaches of historical temperaments during Bach's time. Coghlan and my committee member Stephanie Martin. Your encouragement and constructive leadership along the last two years were a real "positive reinforcement" to my education development. I am so grateful for your decision to supervise my work and I hope that I succeeded to reach the level expected of me. Your suggestions and advice on the practical and theoretical related aspects of this thesis, everything on the premises of your extensive experience as accomplished musicians and university professors, were decisive in helping me explore the musicology stream I am passionate about, acoustics. Similarly, I would also like to thank York music librarian Rob van Der Bliek for being my right hand in finding the right information, in the right place, and at the right time. Your comments and kind suggestions played an important role in helping me pursue this research and complete my thesis. Mrs. Teresa Tilban-Rios deserves a special mention for her expertise and professionalism. Thank you so much for your calm, patient, and detailed help with the organizational aspects of our activity. Your patience and "endurance" during this long process assured a good fundament for all students to be successful. Also, my thanks to all my colleagues and the participants in this research.

Historic Brass Society journal, 2020

Music Theory Spectrum, 2008