This is a multi-part message in MIME format. ---------------------- multipart/mixed attachment One other comment. The problem with these types of explanations is that they ignore the data. In reaching a conclusion you first have to look = at the data and what that tells you. After that you look at factors which might mitigate against your conclusion. The data suggest that people = who are presumed savvy about issues such as temperament are not choosing = them. The factors that mitigate against that conclusion are such as those mentioned below but even so, it represents only one tuners attitude on = the subject and there's nothing to suggest that artists are asking for HT's = and not getting them. When you stick to your conclusion (really your = opening premise) in spite of the data then it suggests a bias. You're really starting with a conclusion and then looking for reasons to support it = rather than collecting the data and reaching a conclusion based on what you = find. =20 =20 David Love davidlovepianos@comcast.net=20 -----Original Message----- From: Porritt, David [mailto:pianotech-bounces@ptg.org] On Behalf Of Porritt, David Sent: Wednesday, January 11, 2006 2:26 PM To: An open list for piano technicians Subject: RE: (careful, it is about temperaments) =20 Or they thought that when they took their show on the road they couldn't = get the temperament of their choice executed by the technicians in the = field. >From my observations that's probably true. I listened to Franz Mohr = tell a class that if an artist asks for a non-ET temperament to just tune ET = and don't go there. Now that was a few years ago but his view of the = subject indicated that this idea was probably not subject to change. =20 dp =20 __________________________ David M. Porritt, RPT Meadows School of the Arts Southern Methodist University Dallas, TX 75275 dporritt@smu.edu =20 _____ =20 From: pianotech-bounces@ptg.org on behalf of David Love Sent: Wed 1/11/2006 2:49 PM To: 'An open list for piano technicians' Subject: RE: (careful, it is about temperaments) One thing to consider in all this (and I've probably exhausted my = thoughts) is what the major pianist/scholars are doing in this respect. Pianists = like Brendl, Schnabel, Perahia, and most of not virtually all others who pour over original source material, biographies, writings, documents in order = to glean that small little detail that adds to their commitment to a more authentic interpretation of the music as conceived by the composer. Of = all these people it seems (and I say this with the caveat that I have not actually done the research) that most if not all of them, when choosing = to record/perform, opt for ET. While there may be a few who, to their = credit, are exploring these pieces in the temperaments of the times, they are a stark minority. To suggest that the leading interpreters of classical = music of the last century take such pains for authenticity while rejecting = the, we assume, prevailing tuning style of the times forces you to the = conclusion that they either consciously chose to reject it because it wasn't in = their view relevant to the music and authentic interpretation, or that they are/were ignorant, biased or, as Bremmer suggests, did it for some = strange business reason. Considering the extent to which they research these = issues and their apparent commitment to the original intent of the composers = leads me to the conclusion that the tuning style was rejected consciously and = that it was not relevant, in their view, to an authentic and musical interpretation. Who am I to argue? If there is real evidence to the contrary, I'm open to hearing it. =20 David Love davidlovepianos@comcast.net -----Original Message----- From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On = Behalf Of Ric Brekne Sent: Wednesday, January 11, 2006 10:48 AM To: pianotech Subject: (careful, it is about temperaments) As to the matter of conclusive.... we of course agree. I dont anyone can claim conclusive proof one way or the other either... not by a long shot. That said, I /believe/ that composers were affected by the sounds around them... perfect pitch aware or not. I try to imagine my self in that same enviroment... could I not be influenced ? Could it not be a significant part of why I choose any particular key ? Well... we will never know perhaps... I'm not sure it really matters much. Certainly much in that world is there to be explored... if not re-explored. Cheers RicB While I think the exploration of WT has it's own interest in terms of = what the composers of that day may have been hearing when they actually = played their works on the piano or related instrument, I think it is far from conclusive that those who often conceived of and composed things away = from the instrument, with a keen sense of absolute pitch and the unique characteristics of each key apart from the piano, with orchestration = ever in their minds would have been driven by tuning style that was evolving = even during their own lifetimes. =20 _______________________________________________ Pianotech list info: https://www.moypiano.com/resources/#archives _______________________________________________ Pianotech list info: https://www.moypiano.com/resources/#archives ---------------------- multipart/mixed attachment A non-text attachment was scrubbed... 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