Emancipate the Quartertone: The Call to Revolution in Nineteenth-Century Music Theory.
In 1852, the theorist Johanna Kinkel urged musicians to "emancipate the quartertone [for] a new world of sound!" Her call to arms was quickly countered by Wolfgang Heinrich Riehl, who denigrated such "enharmonic" sounds as "effeminate" in contrast to traditional German diatonicism. This debate occur...
| Publicado en: | History of Humanities Vol. 2; no. 2; pp. 327 - 345 |
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| Formato: | Artículo |
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University of Chicago Press
Sep2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=124921413&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 124921413 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 23793163 JDN6 jtl: History of Humanities issn: 23793163 maglogo: N pubinfo: dt: Sep2017 vid: 2 iid: 2 pid: 415 pub: University of Chicago Press artinfo: ui: 124921413 10.1086/693317 ppf: 327 ppct: 18 formats: tig: atl: Emancipate the Quartertone: The Call to Revolution in Nineteenth-Century Music Theory. aug: au: Walden, Daniel K. S. affil: Harvard University su: Kinkel, Johanna Keyboards (Electronics) Music theory Musicology Musical instruments sug: subj: Kinkel, Johanna Keyboards (Electronics) Music theory Musicology Musical instruments ab: In 1852, the theorist Johanna Kinkel urged musicians to "emancipate the quartertone [for] a new world of sound!" Her call to arms was quickly countered by Wolfgang Heinrich Riehl, who denigrated such "enharmonic" sounds as "effeminate" in contrast to traditional German diatonicism. This debate occurred during the contemporaneous development of experimental keyboards that could enable Kinkel's musical "emancipation," featuring up to fifty-three equally tempered divisions of the octave in approximation of the pure intervals of just intonation. This article describes two such instruments as case studies: T. P. Thompson's enharmonic organ for the "abolition" of temperament, and Tanaka Shôhei's enharmonium for the restoration of music's "natural purity." I show how the language these theorists used reveals the larger political and cultural forces shaping the late nineteenth-century development of music theory and comparative musicology and trace how their instruments were construed as tools for transnational exchange and the global promotion of European civilization. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2017 holdings: @attributes: islocal: N |
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