This site introduces unknown Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
Asked ChatGPT4o: "When did the 12-tone equal temperament become widespread?"
The 12-tone equal temperament became widespread and widely used as a standard tuning method in the latter half of the 19th century. There are several important historical backgrounds for this tuning method to become mainstream in keyboard instruments and classical music.
From the 17th to the 18th century, the “unequal temperament (well-tempered)” used by Bach and contemporary composers was mainstream. These tuning methods produced different sounds in each key, giving each key its unique character. Bachʼs composition of the *“The Well-Tempered Clavier”* was also conscious of this “well-adjusted tuning method” (well-tempered), which is different from the modern 12-tone equal temperament.
Reference: Daniel Adam Maltz.
The spread of the 12-tone equal temperament was mainly due to the evolution of piano manufacturing technology and the development of Romantic music in the 19th century. During this period, smooth transitions between keys and music that freely used polytonality were sought, and the 12-tone equal temperament was supported as a standard tuning method that made this possible. Pianists and composers of the 19th century, such as Frédéric Chopin and Franz Liszt, performed and composed using pianos tuned in 12-tone equal temperament.
By the latter half of the 19th century, piano manufacturing technology had further developed, and the 12-tone equal temperament became standard in concert pianos. This was to meet the demands of complex key modulations and modern harmonies, minimizing dissonance between keys and achieving the same sound in any key, making the 12-tone equal temperament an ideal choice.
Reference:Mathematics | University of Waterloo.
From the late 19th to the early 20th century, the theoretical backing of the 12-tone equal temperament was established, and it began to be taught as a standard tuning method in music educational institutions. For example, research on tuning and harmony by Hermann von Helmholtz and other acousticians played a role in theoretically supporting the 12-tone equal temperament.
The 12-tone equal temperament became widespread mainly in the latter half of the 19th century and was widely adopted with the development of Romantic music and piano technology. In the Baroque era, unequal temperaments were common, and the differences in sound between keys were emphasized, but the 12-tone equal temperament, offering a more homogeneous sound, adapted to the music after the 19th century.
Asked ChatGPT4o: "Although the 12-tone equal temperament was known in the Baroque era, it was not supported, but it became widespread in the Romantic era. Why is that?"
In the Baroque era, the 12-tone equal temperament was technically known but not widely supported. On the other hand, in the Romantic era, the 12-tone equal temperament became widespread and the standard tuning method in music. The reasons for this change are due to several musical, technical, and aesthetic factors.
In the Baroque era, music was mainly composed for churches and courts, with many works based on specific keys. These works were performed using unequal temperaments (well-tempered or mean-tone), where the different sounds of each key were part of the musicʼs charm. Emphasizing the unique color and character of specific keys was important, so the 12-tone equal temperament was not necessarily needed.
In contrast, in the Romantic era, complex modulations across keys increased, and the 12-tone equal temperament, which provided equal sound in all keys, became sought after. Romantic composers (Chopin, Liszt, Wagner, etc.) created more dynamic and dramatic music, with frequent modulations. The 12-tone equal temperament allowed for stable sound in all keys, making it suitable for these complex modulations.
Baroque instruments had a narrower range and sound that depended on specific keys compared to modern instruments. However, in the Romantic era, pianos and orchestral instruments evolved, expanding their range and increasing volume. The evolution of the piano was particularly notable, requiring tuning that provided stable pitch across all keys. The 12-tone equal temperament, responding to such technical advances, was adopted as the ideal tuning method for pianos and wind instruments, offering uniform sound in all keys.
The musical aesthetics of the Romantic era emphasized strong emotional expression and dramatic structure. Therefore, the 12-tone equal temperament, which maintained equal sound regardless of key, was preferred. In the Baroque era, emphasizing the characteristics of each key was important, but in the Romantic era, smooth transitions between keys were emphasized. The 12-tone equal temperament was widely accepted because it suited these aesthetics.
In the 19th century, music theory and scientific research advanced, and theories about tuning developed. Particularly, the acoustical research of Hermann von Helmholtz provided theoretical support for the 12-tone equal temperament. Additionally, music educational institutions began teaching the 12-tone equal temperament as the standard tuning method, leading to its widespread adoption.
Reference:Mathematics | University of Waterloo.
The reasons the 12-tone equal temperament was not supported in the Baroque era but became widespread in the Romantic era include changes in musical demands, evolution of instruments, changes in aesthetics, and scientific backing and spread of music education. Romantic composers sought smooth modulations between keys and expanded musical expression, making the 12-tone equal temperament, which provided equal sound in all keys, an ideal choice.
Asked ChatGPT4o: "Isnʼt the difference in character between keys suitable for Romantic expression? With equal temperament making all keys sound the same, it seems such expression would be impossible. Why was it supported?"
As you pointed out, the difference in character between keys is very suitable for Romantic expression, and this concept was inherited from the Baroque era. Baroque and Classical composers used unequal temperaments or mean-tone temperaments to give each key a different character or emotional nuance, utilizing it in musical expression.
However, the widespread support for 12-tone equal temperament in the Romantic era has complex reasons as follows.
Romantic composers pursued bolder and more dramatic musical expressions, using frequent modulations and polytonality. Therefore, the 12-tone equal temperament, which provided equal sound in all keys, became important. Unequal temperaments emphasized specific keys, but dissonance in remote keys was noticeable, making them unsuitable for works with frequent modulations.
Romantic composers (especially Liszt and Wagner) often adopted musical structures emphasizing modulations. For such works with frequent modulations and remote keys, the 12-tone equal temperament, providing uniform sound in all keys, was necessary. For example, in Wagnerʼs “Tristan und Isolde,” complex modulations occur over a long period, but with the 12-tone equal temperament, harmonious sound can be maintained in all keys.
In the Romantic era, orchestral formations expanded, and works incorporating polytonality increased. Large-scale orchestral works required a uniform tuning method that did not depend on specific keys. The 12-tone equal temperament was necessary for all instruments to maintain stable tuning, allowing diverse expressions without disrupting the overall balance of the work.
Romantic composers sought heightened emotions and strong expressiveness, requiring smooth modulations and musical consistency. By adopting the 12-tone equal temperament, large changes in sound between keys were avoided, allowing the flow of emotions and dramatic developments to proceed without interruption. This enabled the achievement of Romantic musical expression, maintaining emotional climaxes and tension.
In the 19th century, music theory and education became systematized, and the 12-tone equal temperament was standardized as a tuning method. Music educational institutions recommended the 12-tone equal temperament for pianos and orchestras, and this has been carried over to modern music. Additionally, the acoustical research of 19th-century scientists and musicologists (such as Helmholtz) theoretically supported the 12-tone equal temperament, contributing to its spread.
Reference:Mathematics | University of Waterloo.
The reason Romantic composers supported the 12-tone equal temperament lies in their emphasis on freedom of modulation and musical unity. The 12-tone equal temperament allowed for smooth complex modulations without sacrificing the characteristics of each key, maintaining the emotional flow and expression of the entire work. Therefore, while the 12-tone equal temperament was supported, the character of each key remains an important means of expression even today.