A History of Performing Pitch : The Story of 'A'

This is the first complete survey of the historical pitch standards used by musicians during the last four centuries. Written from a practical perspective and addressed to performers it is the first book to attach frequency values to pitch names and describe where, when, and why various historical pitch levels were used. It surveys a period from the 16th century to the present and focuses on Italy, France, Germany, the northern and southern Netherlands, and the Habsburg Lands, following the developments in the design and function of instruments and how they influenced and were influenced by pitch changes.__The History of Performing Pitch__ explores the relationships between pitches like Chorton, Cammerton, and Consort-Pitch and what pitch frequencies they represented at various times and places. It also examines what effect pitch differences had on musical notation and choice of key, and discusses practical considerations musicians would have had to make when transposing, especially with regards to the range of singers' voices.What distinguishes this book from previous pitch studies is that it has been written since the rise of the early music revival within the context of the growing understanding of how "early" instruments work. This development has provided a new source of empirical information not previously available, which allows this book to base its conclusions on a much larger and more relevant sample than has ever been possible before. It refers to the original pitches of some 1,382 historical instruments, including cornetts, Renaissance flutes, traversos, recorders, clarinets, organs, pitchpipes, and automatic instruments from all over Europe and compares this information with music and written texts. While this study avoids categorical answers where historical information is not yet sufficient to justify them, it locates a number of historical pitch levels, discovers several that were previously unnoticed, and disproves several common myths about pitch. A History Of Performing Pitch: The Story Of A Is The First Complete Look At The Historical Pitch Standards Used By Musicians Over The Course Of The Last Four Centuries, Attaching Frequency Values To Pitch Names And Detailing Where, When, And Why Various Historical Pitch Levels Have Been Used. Surveying A Period From The Sixteenth Century To The Present With A Focus On Italy, France, Germany, The Netherlands, And The Habsburg Lands, The Author Examines The Developments In The Design And Function Of Instruments And How They Influenced And Were Influenced By Pitch Changes. The Pitches Of Nearly 1,400 Historical Instruments Are Covered, Including Cornets, Renaissance Flutes, Traversos, Recorders, Clarinets, Organs, Pitchpipes, And Automatic Instruments From All Over Europe. The Author Also Examines What Effect Pitch Differences Had On Musical Notation And Choice Of Key, Discussing Practical Considerations Musicians Would Have Had To Make When Transposing, Especially With Regard To The Range Of Singers' Voices. Written Since The Rise Of The Early Music Revival, This Study Provides A New Source Of Empirical Information Not Previously Available, Allowing The Author To Base His Conclusions On A Much Larger And More Relevant Sample Than Has Ever Before Been Possible. While This Study Avoids Categorical Answers Where Historical Information Is Not Yet Sufficient To Justify Them, It Locates A Number Of Historical Pitch Levels, Discovers Several That Were Previously Unnoticed, And Disproves Several Common Myths About Pitch.--jacket. The Evidence -- Pitch Before The Instrument Revolution Of Ca.1670 -- The Instrument Revolution And Pitch Fragmentation, 1670-1700 -- The General Adoption Of A-1, 1700-1730 -- Germany, 1700-1730: Cammerton, Chorton, Cornet-ton -- Sebastian Bach And Pitch -- 1730-1770: A Diversity Of Pitches -- Classical Pitches, 1770-1800 -- Early Romantic Pitches, 1800-1830 -- Pitch Standards, 1830-2001 -- Pitch Change By Country. Bruce Haynes. Includes Bibliographical References (p. [513]-548) And Index. This is the first complete survey of the historical pitch standards used by musicians during the last four centuries. Written from a practical perspective and addressed to performers it is the first book to attach frequency values to pitch names and describe where, when, and why various historical pitch levels were used. It surveys a period from the 16th century to the present and focuses on Italy, France, Germany, the northern and southern Netherlands, and the Habsburg Lands, following the developments in the design and function of instruments and how they influenced and were influenced by pitch changes. The History of Performing Pitch explores the relationships between pitches like Chorton, Cammerton, and Consort-Pitch and what pitch frequencies they represented at various times and places. It also examines what effect pitch differences had on musical notation and choice of key, and discusses practical considerations musicians would have had to make when transposing, especially with regards to the range of singers' voices. What distinguishes this book from previous pitch studies is that it has been written since the rise of the early music revival within the context of the growing understanding of how "early" instruments work. This development has provided a new source of empirical information not previously available, which allows this book to base its conclusions on a much larger and more relevant sample than has ever been possible before. It refers to the original pitches of some 1,382 historical instruments, including cornetts, Renaissance flutes, traversos, recorders, clarinets, organs, pitchpipes, and automatic instruments from all over Europe and compares this information with music and written texts. While this study avoids categorical answers where historical information is not yet sufficient to justify them, it locates a number of historical pitch levels, discovers several that were previously unnoticed, and disproves several common myths about pitch. "A History of Performing Pitch: The Story of "A" is the first complete look at the historical pitch standards used by musicians over the course of the last four centuries, attaching frequency values to pitch names and detailing where, when, and why various historical pitch levels have been used. Surveying a period from the sixteenth century to the present with a focus on Italy, France, Germany, the Netherlands, and the Habsburg Lands, the author examines the developments in the design and function of instruments and how they influenced and were influenced by pitch changes. The pitches of nearly 1,400 historical instruments are covered, including cornets, Renaissance flutes, traversos, recorders, clarinets, organs, pitchpipes, and automatic instruments from all over Europe.". "The author also examines what effect pitch differences had on musical notation and choice of key, discussing practical considerations musicians would have had to make when transposing, especially with regard to the range of singers' voices.". "Written since the rise of the early music revival, this study provides a new source of empirical information not previously available, allowing the author to base his conclusions on a much larger and more relevant sample than has ever before been possible. While this study avoids categorical answers where historical information is not yet sufficient to justify them, it locates a number of historical pitch levels, discovers several that were previously unnoticed, and disproves several common myths about pitch."--BOOK JACKET. Observes four centuries of pitch changes and their effect on instruments throughout this period, paying close attention to varying pitch levels used in Italy, France, and the Netherlands.