Not to mention that many recorded companies (especially Columbia) back
in the 1960s and 1970s used "sheen" recordings by speeding them up about
enough to make the tunes a half step higher. You'd often wonder why a
band of guitar players were playing in Bb. And of course they weren't
they played the tune in A and it was "sheened." It supposedly made the
recordings sound crisper and tighter. These days there are all kinds of
tools even for the home recordist to use to make music sound better.
On 03/02/2014 11:05 AM, [email protected] wrote:
The article is rather vague about how 432Hz corresponds with nature, I
am suspecting this is as the author hints but ignores, pseudo science.
In the history of European music we have moderately good record of
pitches, and they were all over the place , generally rising with
time. Musicians with a keen ear perhaps have had the habit of tuning
just a bit higher to sound a bit more brilliant.
I have a number of recordings and the pitch range for the music ranges
from a = 343Hz to 480Hz. The lowest is 10-foot pitch from organs in
Elizabethan England. We have French chamber pitch from the Baroque era
at 396 and 480Hz for organs in the Baroque (choir pitch in Germany and
Austria). Modern orchestras using period instruments perform Baroque
music now typically at 415Hz. Mozart at perhaps about 420Hz. Beethoven
about 430Hz (all though, near the end of his life he is reputed to
have had a tuning fork pitched 'a little above a = 435Hz). Woodwind
instruments from these periods often came with extra finger hole
sections to accommodate different pitch standards. Frederick the Great
had pianos that shifted the keyboard so it could be tuned to three
different pitches a semitone apart. In New York here, the American
Classical Orchestra uses a = 430Hz for Classical period and early
Romantic period music. I have a recording on LP of 18th c. harpsichord
music from Spain that is pitched at 410Hz. So if you used a = 432 for
music earlier than about 1815-1840 it would probably be performed at a
pitch higher than the composers probably intended. For a number of
years a = 435 was a standard orchestral pitch in the latter 19th
century. This also means if a composer associated instrumental timbre
with different musical keys, there can be quite a shift in quality of
sound if the music is performed with a different pitch standard. Thus
how musical scales correlate with colour (visual colour) also has
shifted over the centuries.
Here is one description of the affective colour, the so called
emotional effect of various musical keys, if you move a century
forward or backward, the change in pitch completely undoes everything.
http://www.wmich.edu/mus-theo/courses/keys.html
-------------------------------
---In [email protected], <noozguru@...> wrote:
Heh, I once pissed off a Japanese artist who had created a computer
program where one created music by drawing things on the screen. I
asked him if he knew there were long standing ideas about how musical
scales correlate to colors. His color scheme was all wrong! :-D
In music we often pick definitive keys for their "color". Some tunes
work well in "flat keys" and others in "sharp" keys. Of course
composers were also selecting keys for the range of instruments and
vocalists. Plus picking keys that were natural for brass instruments.
On 03/02/2014 06:42 AM, awoelflebater@... wrote:
http://www.educateinspirechange.org/2014/01/heres-convert-music-432-hz.html
