Source 1:
Glück, Sebastian M. "The Perception of Temperament." The American Organist Oct. 2009: n. pag. Print.
The source was written fairly recently, so it is still dependable of its relativity of the material. Also the way in which it is written tells the reader either that he knows what he is talking about, or he is very good at faking it. Along with that, to show its validity, the source is published in a music and dancing magazine.
This source I have found the most interesting, as it really is disclaiming both equal temperament and just intonation, and saying how Western culture has constrained the possibilities of pitch and tuning. (Something, which I had not considered). Glück mentions how there are more ways to play a song than with equal temperament, and discusses how compromises must ALWAYS be made. He also goes on to claim that “‘perfect’ temperament does not exist because it cannot exist.” Then he goes on to describe the challenges of attaining the (close to perfect) perfect pitch.
He seems to be very against the idea of perfect temperament, and for that matter the way we arrange pitch in western civilization, he favors the non-western way of tuning. Once must also take into consideration that he is writing seems a little subjective in his claims, however he is able to back up most of them with logical points of evidence.
This source adds a new perspective to my list of cons against equal temperament and perfect intonation: it is a western ideal, excludes other non-western styles.
Glück, Sebastian M. "The Perception of Temperament." The American Organist Oct. 2009: n. pag. Print.
The source was written fairly recently, so it is still dependable of its relativity of the material. Also the way in which it is written tells the reader either that he knows what he is talking about, or he is very good at faking it. Along with that, to show its validity, the source is published in a music and dancing magazine.
This source I have found the most interesting, as it really is disclaiming both equal temperament and just intonation, and saying how Western culture has constrained the possibilities of pitch and tuning. (Something, which I had not considered). Glück mentions how there are more ways to play a song than with equal temperament, and discusses how compromises must ALWAYS be made. He also goes on to claim that “‘perfect’ temperament does not exist because it cannot exist.” Then he goes on to describe the challenges of attaining the (close to perfect) perfect pitch.
He seems to be very against the idea of perfect temperament, and for that matter the way we arrange pitch in western civilization, he favors the non-western way of tuning. Once must also take into consideration that he is writing seems a little subjective in his claims, however he is able to back up most of them with logical points of evidence.
This source adds a new perspective to my list of cons against equal temperament and perfect intonation: it is a western ideal, excludes other non-western styles.
Source 2: