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.
General
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