![]() ![]() The scope of this paper is to explore a range of solutions to this problem applied to a single major chord within a single register in a specific harpsichord, given this instrument’s inharmonicity coefficient (Fletcher’s ‘B’ factor). This means there is no longer one single value for an interval that agrees with the ‘natural’ interval concept. This theory is not exact in the case of the harpsichord, as its string stiffness creates inharmonicity - deviations in each harmonic’s pitch varying with its number squared. ![]() It relies on the assumption that harmonics frequencies are exact multiples of their fundamental. The theory of natural intervals is based on the coincidence of harmonics and a consistent system of heterodyne components resulting from two periodic tones. ![]() The three major topics of performance practice-notation, perception, and instruments-will be treated from the often conflicting perspectives of the two orientations, and exemplified by findings of contemporary research. ![]() By contrast, the second orientation affirms the all-important contribution of the present, seen not necessarily as a corrupting factor but rather as a re-creative one without whose impulse music would ossify into a lifeless repetition of the past. The first asserts the inherent value of the past, seen as a repository of the composer’s intentions, and hence the source of presumably immutable truths about proper musical performance. Depending on the resolution of this relationship, two orientations have evolved. The relationship between the absolute and the relative aspects of music constitutes the basic concern of performance practice. A temporal art, live music can only manifest itself in ever-varied performances, yet it “remains unchanged behind this relativity” (Rosen). Such information may be found in manuscript and printed scores, mechanical or electrical recording devices, music and dance treatises, books and letters, media accounts and visual documentation of concert settings, instrument designs and TEMPERAMENTS, and so on. Performance practice denotes the study of information relevant to the performance and perception of music in various historical contexts. ![]()
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