Discover the intriguing exploration into music's rich history with *How Equal Temperament Ruined Harmony*. This thought-provoking book by Ross W. Duffin unravels the complexities of modern music tuning, specifically the standard practice known as equal temperament, which dominates today’s musical landscape. Delve into the captivating question of what if Bach and Mozart were able to hear a wider range of tonal colors and deeper emotional connections in their compositions. This essential read highlights how the equal division of the octave into twelve notes has led to the loss of more dramatic sonorities in music, providing a fascinating examination of musical harmony. With compelling arguments and insights, Duffin aims to inspire musicians and music lovers alike to rethink their approach to tuning and the possibilities of alternate temperaments. This book serves not only as a historical analysis but also as a call to action for anyone involved in the musical arts. Bringing profound evidence and expert commentary from renowned sources, *How Equal Temperament Ruined Harmony* is a must-read for musicians, musicologists, and anyone curious about the evolutionary path of music. Don't miss your chance to reimagine what you thought you knew about harmony. Order now for free shipping! Please allow up to 6 weeks for delivery. Once your order is placed, it cannot be cancelled. Condition: BRAND NEW. ISBN: 9780393334203. Year: 2010. Publisher: W W Norton & Company. Pages: 208.

Note: Shipping for this item is free. Please allow up to 6 weeks for delivery. Once your order is placed, it cannot be cancelled.

Condition: BRAND NEW
ISBN: 9780393334203
Year: 2010
Publisher: W W Norton & Company
Pages: 208


Description:


What if Bach and Mozart heard richer, more dramatic chords than we hear in music today?


What sonorities and moods have we lost in playing music in "equal temperamentthe equal division of the octave into twelve notes that has become our standard tuning method? Thanks to How Equal Temperament Ruined Harmony, "we may soon be able to hear for ourselves what Beethoven really meant when he called B minor 'black'" (Wall Street Journal).


In this "comprehensive plea for more variety in tuning methods" (Kirkus Reviews), Ross W. Duffin presents "a serious and well-argued case" (Goldberg Magazine) that "should make any contemporary musician think differently about tuning" (Saturday Guardian).