Issue is taken with the finding that Domenico Scarlatti probably used a harpsichord tuning with no wolf fifth. Arguments indicating that he used a tuning with a substantial wolf are presented.
Topics
Musical instruments
REFERENCES
1.
J.
Sankey
and W. A.
Sethares
, “A consonance-based approach to the harpsichord tuning of Domenico Scarlatti
,” J. Acoust. Soc. Am.
101
, 2332
–2337
(1997
).2.
C. Sloane, Continuo 16, 15–16 (1992).
3.
F. I. Solano, Novo Tratado de Música métrica, e rythmica (Lisbon, 1779), pp. 4–8. Reproduced in G. Doderer, Actas—Encontro Nacional de Musicologia, Boletim da Associação Portuguesa de Educação Musical, fasc. 48, 40–43 (1986).
4.
F. Gasparini, L’Armonico Pratico al Cimbalo (Bortoli, Venice, 1708, facs. ed. Broude Bros., New York, 1967), pp. 83–86.
5.
P. Barbieri, Acustica, Accordatura e Temperamento nell’Illuminismo Veneto (Torre d’Orfeo, Rome, 1987), pp. 152–158.
6.
This content is only available via PDF.
© 1998 Acoustical Society of America.
1998
Acoustical Society of America
You do not currently have access to this content.