[Smt-talk] Early account of beats
Daniel Wolf
djwolf at snafu.de
Wed Sep 15 06:32:32 PDT 2010
On Wed, 15 Sep 2010 01:38:15 +0200, Ildar Khannanov <solfeggio7 at yahoo.com>
wrote:
> I agree with Nicolas that hearing the effect of beating, as we can hear
> it today, was impossible in the earlier stages of western music history,
> but I propose a different explanation.
I don't believe that Nicolas was drawing that conclusion. The phenomenon
of beating has always been perceived, and it has always been possible for
musicians to tune by reducing (or increasing, as the case may be) the rate
beating but the description has changed, for example through the
possibility of measuring the rate of beating with use of a metronome or
watch.
> Of course, Jay may have come with this interesting question sitting at
> the D-model Steinway and touching slightly detuned fifth. Indeed, the
> interference of the overtonal spectra produces beating. The formant of
> the higher note in a fifth interferes with the second harmonic of the
> lower. When the two strings are tuned to each other perfectly (Perfect
> Fifth) the second harmonic of the lower comes into resonance with the
> formant of the higher tone and the amplitude)s of both waves are
> multiplied evenly throughout all the wavelengths. If the two waves are
> not congruent (vary in frequency) and not in phase (do not start at the
> same time) the resonance will be very unevently distributed throughout
> the sinusoid and instead of steady increase of the amplitude, we will
> hear irreguarly placed peaks of loudness, or beatings.
The chorus effect of courses of piano wires being slightly mistuned from
one another is well-known.
> But this can happen only if both sounds come from a perfect instrument,
> that is, the instrument, which is capable of distinguishing and
> emphasizing the formant and harmonic partials, generated only by this
> formant. Physically, in order to have this, the string quality must be
> very high, because it has to vibrate with its halves, its thirds, its
> foruths exactly. If the string is of poor quality (has variations in
> thikness and viscosity of metal), and the soundborad is not precisely
> cut, your instrument will produce a cloud of non-harmonic partials, that
> is, noises, or what in contemporary acoustics is called distortions.
While the non-linear effects of imperfect piano wire can, indeed, change
the proportions of the spectra, even in instruments with the highest
quality the stiffness of the wire stretches the spectra considerably from
a simple harmonic structure. It is typical for the stretching to be such
that the 15th partial has a frequency of ca. 16 times the frequency of the
fundamental. The consequences of this for setting a temperament on a piano
are obvious and piano tuners have developed several strategies for
compensating for this; this contributes, perhaps, an element to the
aesthetic design of the piano, which is a greater attenuation of upper
partials when compared, for example, with the harpsichord. (Robert
Escot's discussions of the trend to attenuation in modern instrument
design are relevant here.)
I
> have (sic) worked as a musical folklorist in Russia for several years
> and noticed that most folk instruments produce dirty sound (clean sound
> is aesthetically unacceptable in folk music).
"Dirty" is a coarse and relative term. "Dirty" can mean a collateral
sound, not considered part of the music proper, but associated with its
production; I know Javanese musicians who find the bowing sounds of
western strings to be almost intolerably ugly, I personally dislike the
sound of saxophone keywork, many people dislike the sound of page turning
or chairs creaking. "Dirty" can also indicate a preferred element of
timbre in a particular performance practice, for example the constant
vibrato in much western string or flute playing, or all of the nuances
between breath, pitch, and timbre found in shakuhachi or all of the
effects of gu-qin playing. While you may have worked in particular
traditions where you find the sound to be dirty — whether through
commission or omission — making such a statement for "folk music" in
general would be grossly inaccurate; it is certainly not true of Irish or
German or Scandinavian folk musics, for example.
> Now, to the point. Before the Cremona violin, instruments in Europe
> were very imperfect. Yes, we have some old organs and harpsichords, but
> they have been restored. Try to hear a beating of a detuned fifth on two
> Shaums, or on two Kurais (Bashkirian national instrument, a kind of
> flute traverse). The kurai is a phantastic solo instrument, but the
> sound of an ensemble of kuraists is hilarious!
That is confusing the possibilities of an instrument with the actual
selection of those possibilities used in a particular performance practice
tradition. It is perfectly possible, for example, to play a Javanese rebab
in beatless unison (_pleng_ is the Javanese term) with any of the
metallophones in the gamelan. One of the most esteemed performance
practices, however, involves playing higher tones slightly sharp to the
ensemble; this is useful as the rebab frequently cues the solo female
vocalists, who are also supposed to sing sharp, and in both cases, the
higher pitch is perceived to be more audible over the rest of the ensemble.
Having played in ensembles of shawms, cortholts, and crumhorns for 35
years, as well as having more than 30 years experience in tuning
harpsichords, I have never found this to be the case. Indeed, in early
music, excepting the
plucked gut-strung instruments, with short and rapidly attentuating
durations (and even so, these are longer than modern synthetic strings!),
one is always working with instruments with bright spectra requiring that
one tune by
reduction of beating. ( The frequently heard complaints about the
intonation of early music groups are often attributable to the fact that
the quality of intonation, in terms of simple spectra, is more obvious
than on modern instruments (like the piano) or in contemporary performance
practice, where, for example, a constant use of vibrato may compensate for
intonational impurity.
> There is a dissertation, entitled How equal temperament has killed
> western music. I could add to it How acoustically perfect instruments
> have killed western music.
>
I don't subscribe to the view that western classical music is dead or
dying, whether by murder or suicide; western art music, its makers, its
means of delivery, and its audience simply continues to change, as it
always has changed. The more relevant dissertation would be written on
"how changes in instrument design are or are not parallel to changes in
compositional and performance aesthetics."
Dr. Daniel Wolf
composer
Frankfurt am Main
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