The History of Musical Pitch (Google eBook)

Front Cover
1880 - Musical pitch - 336 pages
0 Reviews
  

What people are saying - Write a review

We haven't found any reviews in the usual places.

Selected pages

Contents

Common terms and phrases

Popular passages

Page 302 - ... hence, I felt compelled to undertake the investigation myself. I am indebted to the great kindness and liberality of the choir conductors, Messrs. Henry Leslie, WG McNaught, J. Proudman, Ebenezer Prout, LC and GI Venables, and 542 members of the choirs they conduct, for having been able to try it upon a sufficiently large number of voices, to furnish a trustworthy mean. The following Table gives the numbers of each kind of voice examined, rejecting duplicates : " These numbers by no means...
Page 337 - Broadwood rejoined that he gave merely a practical method of producing equal temperament, ' from its being in most general use, and because of the various systems it has been pronounced the best deserving that appellation by Haydn, Mozart, and other masters of harmony.
Page 306 - The organ is to be suited to the choir [or church chor\, and properly tuned for singing, for where this is not considered, persons are often forced to sing too high or too low, and the organist has to play the chromatics, which is, however, not convenient for every one. But what is the proper length of the pipes for this purpose, and convenient to the choir to sing to, cannot be exactly defined, because people sing higher or lower in one place than in another, according as they have small or great...
Page 297 - I.), but has, in late years, become a beautiful philo. sophical instrument, as in the larger forks before you. It is very permanent. I have reason to believe that Scheibler's forks have not varied by one vibration in ten seconds since his death in 1837. It varies very slightly for temperature, being (contrariwise to the organ.pipe) flattened by heat and sharpened by cold to the amount of about V 1 in V 21,000 for each degree Fahrenheit. When, therefore, careful experiments have to be made, a tuning.
Page 337 - Mr. Hipkins has been at some pains to ascertain how far that was the case, and from him I learn that Mr. Peppercorn, who tuned originally for the Philharmonic Society, was concert tuner at Broadwoods', and a great favourite of Mr. James Broadwood. His son writes to Mr. Hipkins that his father ' always tuned so that all keys can be played in, and neither he nor I [neither father nor son] ever held with making some keys sweet and others sour.
Page 295 - Berkeley Square, London, had that organ tuned equally by Mr. Hill, the builder. Though much opposed, it was visited and approved by many, and among others by Mr. Cooper, who had the organ in the hall of Christ's Hospital (the Bluecoat School) tuned equally in 1853. In 1854 the first organ built and tuned originally in equal temperament, by Messrs. Gray & Davison, was made for Dr. Eraser's Congregational Chapel at Blackburn (both chapel and organ have since been burned). In the same...
Page 298 - ... L = the vibrating length of the string from the suspending point to the movable bridge, expressed very accurately in English inches. "/=the same in French millimetres. "W = the stretching weight of the string, including the weight of non.vibrating part of the string, expressed in any unit. "/ = the weight of the vibrating length of the string in the same unit. These weights of the string are best obtained by stretching a similar string by the same weight and leaving it for some days till the...
Page 305 - ... different could ever have been conceived and written as the same note A. But a key to the mystery is furnished by Arnold Schlick, 1511, who says (chap. 2): 'The organ is to be suited to the choir [or church...
Page 337 - Musique ) that equal temperament " est le plus usite et le plus commode, et que tous les praticiens avouent que la division de 1'Octave en 12 demitons leur est plus facile pour toucher les instruments.
Page 294 - ... now to be noted is this, that for convenience of reference a certain tone, produced by so many vibrations in a second, has to be chosen by musicians as a standard of pitch. This tone is named after the letter C, and lies conveniently between the two extremes of high and low in the region of sound. It determines the pitch of all the other notes in a particular system of tuning, and gives the pitch of the instrument producing it.

Bibliographic information