(***********************************************************************
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Cell["\<\
Equal temperament has been known since at least the fourth century \
BC, when it was mentioned by Aristoxenus. It has been used since the 15th \
century for determining the placement of frets on lutes, guitars and viols. \
For instruments which sustain notes longer, such as the harpsichord and \
organ, it was not accepted until the very late eighteenth century in Europe, \
100 years later in England. It is difficult to tune by ear, and it was not \
until the development of the pianoforte, with its more stable but less easily \
adjusted tuning, that it became more common, eventually replacing all other \
tunings. The organ, on the other hand, although not tuned frequently, is not \
flattered by equal temperament, and was the last instrument to become equal \
tempered.\
\>", "Text"]
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the fifths are quite good, the thirds suffer badly. The modern method of \
tunings relies on counting ",
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known before the mid nineteenth century, and so a true equal temperament was \
unlikely to have been used at any earlier time on a keyboard instrument."
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"."
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Equal temperament is devoid of key colour, since the relationships \
between the intervals is exactly the same in every key. This renders a \
composer's choice of key irrelevant on a keyboard instrument, any perceived \
emotional difference is a result of our ears being conditioned by key choices \
of earlier times.\
\>", "Text"],
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", played only once since every key sounds the same. The effect is that \
which modern ears are used to, but lacks the harmoniousness and interest that \
is so evident in the unequal temperaments. The sound is bright, harsh and \
unsubtle, and clearly inferior for music written for an unequally tempered \
instrument."
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(***********************************************************************
Cached data follows. If you edit this Notebook file directly, not using
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