Reading Response

Week 5

In the article entitled The Compass as a Musical Tool and Symbol, John Koster explains the importance

of the compass for music theorists, instrument builders and artists in general. I find it interesting that

the author laid out the different types of compasses and defined their individual applications and sizes.

Also, Koster explained their relevance throughout the different early artistic periods. Remarkably, the

author provided visual (artistic) and historical (written) evidence to support his claims and accentuate

the main message. Personally, I find this article and important piece to understand the basic

approaches and measurements that builders used to make instruments before replication became a

widespread practice.

In the article Beyond Temperament: Non-Keyboard Intonation in the 17th and 18th century by Bruce

Haynes. We could see the different tuning systems that were favored during pre-romantic times. In

addition, the author provides great examples of how music theorist’s and composers approached certain

combinations of instruments and how they had to “adjust” to avoid unintended dissonances. Remarkably,

this article explains the pros and cons of the different tuning systems and gives accurate approximations

on how to achieve them with a modern tuning device. In addition, Haynes clearly defines early

performance practice in which the semitones were divided and the distinct commas that represented

each pitch.

In the article entitled Sound Materialized and Music Reconciled: Herman Heimholz, Alexandra Hui

outlines the motivations and skills that led Heimholz to study sound as a scientist. Remarkably, the author

explains how Heimholz, being a musician, was able to use his highly-trained listening skills to perform

research about sound and its behavior. In addition, his works and passion for music led him to collaborate

with instrument makers such as Theodore Steinway and use their instruments to build on his research. In
conclusion, Heimholz could connect his most passionate, emotive and analytical sides to develop theories

that represented his professional achievements.

In the article the Corporealism of Harry Partch, Ben Johnston describes the personality and

character of Harry Partch, Johnston focuses on Partch’s do-it-yourself attitude and uncompromising

nature. Remarkably, Johnston uses personal anecdotes to exemplify his claims and can draw connections

between Partch’s music and personal experiences. Among those anecdotes, the ones that exemplify how

Partch had a need to control every aspect of his gesamkuntswerk and in a few words commanded his

collaborators.