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Temperament: How Music Became a Battleground for the Great Minds of Western Civilization | 
enlarge | Author: Stuart Isacoff Publisher: Vintage Category: Book
List Price: $13.95 Buy New: $7.74 You Save: $6.21 (45%)
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Avg. Customer Rating: 49 reviews Sales Rank: 153365
Media: Paperback Number Of Items: 1 Pages: 288 Shipping Weight (lbs): 0.7 Dimensions (in): 8 x 5.2 x 0.6
ISBN: 0375703306 Dewey Decimal Number: 786 EAN: 9780375703300 ASIN: 0375703306
Publication Date: February 4, 2003 Availability: Usually ships in 1-2 business days Shipping: International shipping available Condition: Brand New, Perfect Condition, Please allow 4-14 business days for delivery. 100% Money Back Guarantee, Over 1,000,000 customers served.
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Amazon.com Review Involving mathematics, philosophy, aesthetics, religion, politics, and physics, Stuart Isacoff 's Temperament invokes the tone of a James Burke documentary. However, the focus is not on a modern invention, but rather a modern convention: that of tuning keyboards so that every key is equally in tune--and equally out of tune. With the existing literature tending to bog down in mathematical theory or historical tuning methods, Isacoff bravely attempts to make this seemingly arcane topic interesting to the general reader. He distills the mathematics and music theory into their simplest essences, and draws apt analogies from the everyday. He also generously peppers the text with the quirks and escapades of its more flamboyant central characters; the relevance of the information is often tenuous at best, but Isacoff has obviously done his homework, and he can be forgiven some frivolity. Less forgivable is his neglect of "well-temperament." Namesake of Bach's masterful collection of 24 pieces (one each in all the major and minor keys), the well-tempered keyboard liberated composers from the howl of badly tuned keys in the way equal temperament did, while preserving the distinct quality of each key. It was a pragmatic and aesthetically rich solution that captivated composers and theorists for decades. Yet Isacoff reserves less than two pages for its description. (Perhaps he deliberately overlooked the topic since it doesn't fit well with his casting of equal temperament's opponents as rigid, dogmatic, and impractical.) Despite its flaws, Temperament is an accessible guide to a fascinating topic seldom discussed outside musical circles. Though the book may not invigorate hard-core theorists, the amateur musician, armchair scientist, history buff, or plain old curious can glean plenty from it. The advent of digital keyboards--some of which can be tuned to historical temperaments at the flip of a switch--makes this an ideal time for the topic to be rejuvenated. --Todd Gehman
Product Description Few music lovers realize that the arrangement of notes on today’s pianos was once regarded as a crime against God and nature, or that such legendary thinkers as Pythagoras, Plato, da Vinci, Galileo, Kepler, Descartes, Newton and Rousseau played a role in the controversy. Indeed, from the time of the Ancient Greeks through the eras of Renaissance scientists and Enlightenment philosophers, the relationship between the notes of the musical scale was seen as a key to the very nature of the universe.
In this engaging and accessible account, Stuart Isacoff leads us through the battles over that scale, placing them in the context of quarrels in the worlds of art, philosophy, religion, politics and science. The contentious adoption of the modern tuning system known as equal temperament called into question beliefs that had lasted nearly two millenia–and also made possible the music of Beethoven, Schubert, Chopin, Debussy, and all who followed. Filled with original insights, fascinating anecdotes, and portraits of some of the greatest geniuses of all time, Temperament is that rare book that will delight the novice and expert alike.
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| Customer Reviews: Read 44 more reviews...
Long on stories short on practice. December 26, 2008 I have not read the book. Being deeply interested in the subject, friends who read it told me it is fun to read but it does not add to the state-of-art of the matter, especially for the musicians in search for advise. It is interesting how one can find nowadays lots of material on general matters about equal/unequal temperament and on mathematical trivia. However, detailed sound explanations about the underlying acoustics and practical advise for the tuner and performer of early music with ancient instruments is much thinner on the ground. Hopefully this can be improved upon. Claudio Di Veroli http://temper.braybaroque.ie/
New view of old material November 11, 2008 Isaacoff delivers a fascinating and insightful view of something we might have considered too obscure to bother with. He tells the story of how modern western tuning evolved from the simple integer intervals that Pythagoras "discovered," to its current "irrational" intervals, and helps us understand, through entertaining and insightful anecdotes and historical analysis, how reflective the process was of our overall (European) cultural and artistic evolution. This is a great read for anyone interested in why we like or dislike the music that we hear, and how we got here.
Get the Newer Paperback March 2, 2008
I make a practice of sending books I really enjoy to friends who have similar interests. Ordering up Temperament when it was first favorably reviewed in The Economist, and again as a gift, I saw there were some very negative reviews, which surprised me. Pleasantly, my gift book came in its newer paperback version which includes an Afterword where Isacoff addresses the critics complaints. The quite cranky complainants don't seem to "get it" that he, in this role, is an historian not an advocate of "equal temperament."
The history of slicing and dicing octaves into useful bites for the keyboards of organs, harpsichords and pianos has run 2,589 years from Pythagoras to Isacoff and is still running. 99% of pianos have twelve black and white keys and tuned to equal spacing, so twelve tones seems to be in the lead. Even Pythagoras who understood 3rd and 5th could not find a mix that would come out even. It is of course a compromise, but it is not correct to assume that Isacoff has a European bias for the twelve tone systems and is antagonistic to Chinese and Asian treatments of the issue.
This is a delightful read with the cultural and artistic histories of two millennia intertwined with the struggle for beautiful keyboard related music.
Robert Hansman
Listen to tempered instruments instead of reading about it March 11, 2007 4 out of 7 found this review helpful
I was quite impressed the first time I read Temperament. How Music became a Battleground for the Great Minds of Western Civilization by Stuart Isacoff, which is the same book as Temperament: The Idea That Solved Music's Greatest Riddle. I had a the time some theoretical knowledge about temperaments and effects on music playing but I didn't had any chance to experience it until recently.
A friend of mine showed me few months ago a recording called Six Degrees of Tonality. A Well Tempered Piano issued on Gasparo (GSCD-344). I liked so much what I heard that I ordered a second recording available on the same label and called Beethoven In The Temperaments. Historical Tunings on the Modern Concert Grand (GSCD-332). These recordings made by Ed. Foote (see review Not so fast, please., January 2, 2002)are a unique chance to experience other tunings than the widely spread equal temperament.
Returning recently to Isacoff's Temperament after reading L'Histoire de l'Acoustique Musicale by Serge Donval, I realised that the author just wanted to justify historically how and why ET is "THE" temperament that the world has been seeking for over thousand of years.
I invite readers of Temperament to listen to the four Piano Sonatas played on a Steinway D on Beethoven In The Temperaments (two tuned after Prinz and two after Young temperaments) and to compare with any other recordings performed on ET piano.
They will hear how Key Colors used to sound and how triads and chords sound so differently. Listening to the same works on a ET piano make it an uncomfortable experience even if the performer's name is Arrau, Serkin or Pollini.
My wish would be that Mr. Foote and Gasparo come up with more recordings of Bach, Mozart, Schubert, Chopin, Schumann, Brahms, Liszt on a period tempered piano.
Fascinating, Yet Flawed April 18, 2006 11 out of 12 found this review helpful
Temperament, by Stuart Isacoff, is almost a great book. It covers a little-known aspect of music history in great depth and with delightful insights and cute 'asides.' In short, it takes a technical subject that is over the heads of most readers and makes it accessible and interesting-- and in the process of course brings it down to a level that the average person can almost understand.
And there's where it fails.
Without audio examples to illustrate the points being made, most of the niceties of the different kinds of scale tuning throughout history are just so much description. Unless you've *heard* the type of tuning known as 'just tuning,' you really can have no idea how strange and sometimes beautiful and sometimes alarming the sounds can be, particularly the effects that familiar harmonies can have when tweaked away from our usual experience in this way. There is a website referred to in the book where you can go and listen to some of these things, but that's just not good enough. The book cries out for an audio CD to be included, with examples tied to specific points in the text, and vice versa. I'm sure the author would have been glad to do it. The publisher goofed.
The other problem in the book is that the author occasionally comes up with a 'fact' which is simply not the case. This is rare, but the fact that it happens at all is cause to wonder about the truth of some of the allegations that he makes. The book isn't scholarly [thank God] and there are no footnotes to use in checking the author's data, but I have a funny feeling that he has played a bit fast and loose with us on some points. No evidence-- just a feeling.
Still-- the book is well worth reading, particularly if you have enough musical background to be able to appreciate some of the author's stories and examples. The tales about politics, philosophy, and personalities gone awry would be fascinating even if the information about music weren't compelling-- which it is.
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