What if Bach and Mozart heard richer, more dramatic chords than we
hear in music today? What sonorities and moods have we lost in
playing music in "equal temperament" the equal division of the
octave into twelve notes that has become our standard tuning
method? Thanks to How Equal Temperament Ruined Harmony, "we may
soon be able to hear for ourselves what Beethoven really meant when
he called B minor 'black'" (Wall Street Journal).In this
"comprehensive plea for more variety in tuning methods" (Kirkus
Reviews), Ross W. Duffin presents "a serious and well-argued case"
(Goldberg Magazine) that "should make any contemporary musician
think differently about tuning" (Saturday Guardian)."
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