This paper discusses a quantitative method for the study of historical keyboard instrument tunings that is based on a measure of the perceived dissonance of the intervals in a tuning and their frequency of occurrence in the compositions of Domenico Scarlatti (1685–1757). We conclude that the total dissonance of a large volume of music is a useful tool for studies of keyboard instrument tuning in a historical musical context, although it is insufficient by itself. Its use provides significant evidence that Scarlatti used French tunings of his period during the composition of his sonatas. Use of total dissonance to optimize a 12-tone tuning for a historical body of music can produce musically valuable results, but must at present be tempered with musical judgment, in particular to prevent overspecialization of the intervals.
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April 1997
April 01 1997
A consonance-based approach to the harpsichord tuning of Domenico Scarlatti
John Sankey;
John Sankey
1369 Matheson Road, Gloucester, Ontario K1J 8B5, Canada
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William A. Sethares
William A. Sethares
University of Wisconsin, Madison, Wisconsin 53706-1691
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J. Acoust. Soc. Am. 101, 2332–2337 (1997)
Article history
Received:
August 16 1995
Accepted:
October 29 1996
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Comments on “A consonance-based approach to the harpsichord tuning of Domenico Scarlatti” [J. Acoust. Soc. Am. 101, 2332–2337 (1997)]
Citation
John Sankey, William A. Sethares; A consonance-based approach to the harpsichord tuning of Domenico Scarlatti. J. Acoust. Soc. Am. 1 April 1997; 101 (4): 2332–2337. https://doi.org/10.1121/1.418212
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