Temperament: The Idea That Solved Music's Greatest Riddle (Hardcover)

by Stuart Isacoff (Author) "The piano is perhaps the most generous instrument ever invented..." (more)
Key Phrases: equal temperament, sonorous body, pitch pipes, Vincenzo Galilei, Huai Nan Tzu, Leonardo da Vinci (more...)

Editorial Reviews

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

From Publishers Weekly
Isacoff, editor-in-chief of Piano Today magazine, tells the worthy tale of how musical temperament the familiar, seemingly fixed relationships between notes on an instrumental scale came to be taken for granted. After centuries of an accepted belief in the mathematical and divine governance of music, the 17th century saw the growth of a fierce debate over experimental new tuning methods. In the 18th century, the modern keyboard allowed for a new kind of tuning, known as equal temperament, whereby each pitch is equally distanced. New musical possibilities opened up, changing composition forever. Isacoff traces music theory contributions by da Vinci, Newton, Descartes, Kepler and Rameau. Unfortunately, he sometimes clumsily attempts to keep his audience's attention with irrelevant, if salacious, gossip e.g., philosopher Robert Hooke "recorded his orgasms in a diary," and King Louis XIV refused to eat with a fork. Meanwhile, he gives relatively short shrift to Kepler and Galileo. His ambitious historical canvas uses extensive secondary sources, but there are research gaps, such as his outdated portrait of Isaac Newton as a total "ascetic." Nevertheless, this harmonics drama will excite music geeks and music historians. (Nov. 24)Forecast: Knopf's prestige guarantees sales to major music collections, and Isacoff's national media appearances (NPR, etc.) may mean good general sales.

Copyright 2001 Cahners Business Information, Inc.

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Product Details

• Hardcover: 272 pages
• Publisher: Knopf; 1st edition (November 13, 2001)
• Language: English
• ISBN-10: 0375403558
• ISBN-13: 978-0375403552
• Product Dimensions: 7.8 x 5.4 x 1.2 inches
• Shipping Weight: 13.1 ounces
• Average Customer Review: 3.4 out of 5 stars See all reviews (50 customer reviews)
• Amazon.com Sales Rank: #630,580 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

42 of 44 people found the following review helpful:

5.0 out of 5 stars Why you might/might not like this book: Reviewing reviews, February 13, 2004

By	P. Vogel "Peter Vogel" (Goderich, Ontario Canada) - See all my reviews (REAL NAME)

This review is from: Temperament: How Music Became a Battleground for the Great Minds of Western Civilization (Paperback)

I thoroughly enjoyed this book and, for the first time in my life, feel that I actually understand the issues around temperament. I would recommend this book to a lot of people but not everyone, as the number of negative reviews illustrates. The negative reviews for this book seem to fall into four categories-if you are in one of those groups then you may want to buy a different book:
1) The lunatic fringe: Examples here are: The review that castigates the book for abusing non-Western music (It's hard to see the point of this complaint since the intent of the book is to discuss the role of temperament in Western music--no real mention is made of any other kind of music); The review by the person who read only a 2 or 3 page excerpt of the book (apparently ignorance is no impediment to opinion); The person who hadn't read the book yet but would post a review when they had (see previous); The reviewer who felt that the book was all about sex (I missed that). And so on.
2) People who were unhappy about the lack of technical detail. While I am obviously disparaging the previous group, these reviewers have a valid complaint. These readers were looking for (as examples): actual scores; more math with more explicit discussion of the exact size of the differentials between similarly named tones; more technical terms (e.g. "hertz"). I have a good grounding in math, read a lot of technical material, but would probably best be described as a "music lover". I'm just not in these reviewers league. Since I don't read music, for instance, a score would be useless to me. For the audience that I represent, the level of technical detail worked very well and is appropriate for a "general interest" book. The author's description of the music met my needs and the prescence of a score wouldn't have helped. I didn't miss the technical details that these other readers were looking for.
3) Reviewers who felt a lot of the book was irrelevant and fluff. Also a valid comment as much of the book isn't directly about temperament (as an example, these reviewers would probably point to chapter 7, which is an overview of the birth of the Renaissance). However, the author's intent is not to discuss temperament but to discuss how the battles over temperament reflected much of what else was going on politically and culturally at the time. He wants to claim that the discussions of temperament reflected other battles and that the arguments over temperament were enabled only by other changes going on in the world. If that larger discussion doesn't interest you, this is the wrong book for you in the same way that the lack of technical detail made the book an unhappy experience for the previous group of readers. Again, I enjoy the kind of writing that tries to draw connections between relatively obscure technical matters and larger social interests. However, it does mean that this isn't a book that is just about temperament.
4) People who wished the author had gone into more detail/covered more topics. As examples: Apparently well-temperament has gotten short shrift (I can see that I would have liked more on the topic); The book focuses on the issues as demonstrated by tuning pianos (the author announces this early in the book); Some readers would have like more on temperament issues with other kinds of instruments; other readers wished the author had followed up on reference to temperament in China, organs, and other topics. Apparently there is room here for a larger book on this topic. I enjoyed the length of the book and it didn't leave me wanting more but that may just reveal my ignorance of the subject: Had I known more I may have wanted more.

If you are looking for a medium-length discussion of temperament (a critical topic in understanding music) for the general reader and music lover, a book that tries to tie this topic into the larger cultural/political/social changes in the world--then this is a fascinating book. It's well written (a couple of stretched metaphors) and interesting (I devoured it in two days). If you are looking for a broader study, a more technical discussion, or a discussion of temperament purely in musical terms then you will be disappointed. I got excited about the topic! The book made me want to buy a CD that demonstrates the issues by playing the same piece of music in several different tunings--something that I wouldn't even have considered before.

16 of 16 people found the following review helpful:

3.0 out of 5 stars An entertaining read, December 14, 2005

By	D. Catherino (Anchorage, AK) - See all my reviews (REAL NAME)

This review is from: Temperament: How Music Became a Battleground for the Great Minds of Western Civilization (Paperback)

A good superficial read on the historical development of 12 tone equal temperament. For a more in-depth and analytical look at temperament I would recommend Harry Partch's Genesis of a Music.
A word of warning, this book is available under 2 titles. Temperament - the idea that solved music's greatest riddle, and Temperament - how music became a battleground for the great minds of western civilization. I purchased both assuming that they were companion works, but they are identical.

13 of 13 people found the following review helpful:

2.0 out of 5 stars Could have used a lot more math, January 22, 2002

By	Rachel Grey (Cambridge, MA) - See all my reviews (REAL NAME)

This book does an adequate job of explaining the troubles inherent in musical tuning to a layperson. However, why does a book about frequencies and the relationships between them avoid the word "hertz"? I would have appreciated knowing HOW far off a modern keyboard's fifth is from a true one, and how big Pythagoras' comma really is. The author seems to be avoiding this kind of exposition in favor of fractions and many, many adjectives, which didn't work for me. At the same time, some concepts pop up in the book unexplained (a fourth is mentioned in passing for the first time on page 143, after we've been dragged through the ratios of octaves, fifths and thirds several times). The book seems to be aimed at people who already know some music theory but can't tolerate math, an audience that probably doesn't exist.

While the accompanying history tried hard to entertain, there were too many diversions away from the main topic. Less flavor, please, and more numbers.