Vernon Jenkins wrote:
<< I am advised by the composer
A.M.Sauerwein (Duke University) that while Bach was an avid champion of
'well-tempered' tuning - as evidenced by his two sets of 24 keyboard
Preludes and Fugues covering the whole range of major and minor keys -
'equal temperament', as it is now understood, was a later development.
I am indebted to him for drawing my attention to this matter. >>
I think it was Dave C. (on the subject of Metaphysical naturalism vs.
methodological
naturalism) who mentioned that we are taught by people who think they are
teaching
us what is true, and we accept it as fact.
Indeed, I was also taught that the "well tempered" clavier == "equal
tempered" clavier.
I'm a scientist now, so the number of musicians that I propagate these
"corrections"
to will be small, but I do serve in the music ministry at my church, so I
will be
a little more careful. I've told this very same thing to many people.....
sigh.
On the other hand, most 20th century music (not just Hindemith, Ives etc.,
but
even contemporary worship music built on the traditional triads) has been
constructed via equal tempered tuning for the most part.
by Grace we do proceed,
Wayne
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