Tuning forks as time travel machines: pitch standardisation and historicism

References

• Académie royale de musique, Handwritten Report on the Meeting of the Pitch Commission of 21 June 1824. 1824. Archives nationales. AJ/13/114.
   Google Scholar
• Alder, K. 1995. “A Revolution in Measure: The Political Economy of the Metric System in France.” In The Values of Precision, edited by M. Norton Wise, 39–71. Princeton, NJ: Princeton University Press.
   Google Scholar
• Berlioz, H. 1858. “Le Diapason.” Journal des débats 29 (Sept): 1.
   Google Scholar
• Beschlüsse und Protokolle der Internationalen Stimmton Conferenz in Wien 1885. 1885. Kaiserlich-Königliches Ministerium für Cultus und Unterricht Vienna: Kaiserlich-Königlicher Schulbücher.
   Google Scholar
• Bickerton, R. C., and G. S. Barr. 1987. “The Origin of the Tuning Fork.” Journal of the Royal Society of Medicine 80: 771. doi:10.1177/014107688708001215.
   PubMed Web of Science ®Google Scholar
• British Standards Institution. 1939a. British Standard Concert Pitch. London: British Standards Institution.
   Google Scholar
• British Standards Institution. 1939b. “Notes of a Meeting of ISA Sub-Committee No. 43/3B, Concert Pitch, Held at Broadcasting House, London, on Thursday and Friday, May 11th and 12th, 1939.” UCLA Special Collections, Vern Oliver Knudsen papers, Coll. No. 1153, Box 25, Folder 4.
   Google Scholar
• Brunsson, N., and B. Jacobson, eds. 2000. A World of Standards. Oxford: Oxford University Press.
   Google Scholar
• Campaign for the Adoption of a Uniform Musical Pitch: Correspondence to the Society in Response to Questionnaire. 1860. Royal Society of Arts. PR/GE/121/10/5.
   Google Scholar
• Campaign for the Adoption of a Uniform Musical Pitch: Correspondence to the Society in Response to Questionnaire. 1886. Royal Society of Arts. PR/GE/121/10/6.
   Google Scholar
• Circular Letter from Meysenberg (For the Foreign Minister) to the Imperial and Royal Austrian Diplomatic Missions in Germany, Vienna. 1862. 13 May 1862. Orchester-Simmung. Akten, 1862–1869. OeStA:HHStA MdÄ AR F60 35-1. Vienna: Staatsarchiv.
   Google Scholar
• Cross, C. R. 1900. “Historical Notes Relating to Musical Pitch in the United States.” Proceedings of the American Academy of Arts of Sciences 35: 453–454. doi:10.2307/25129957.
   Google Scholar
• De La Fage, A. 1859. De l’unité tonique et de la fixation d’un diapason universel. Paris: E. Dentu.
   Google Scholar
• Delezenne, C. 1854. “Note sur le Ton des orchestres et des orgues.” In Mémoires de la société des sciences à Lille. Lille: Privately published.
   Google Scholar
• Ellis, A. J. 1880. “On the History of Musical Pitch.” Journal of the Royal Society of Arts 28: 293–336.
   Google Scholar
• Ellis, A. J., and A. Mendel. 1968. Studies in the History of Musical Pitch. Amsterdam: Frits Knuf.
   Google Scholar
• Ellis, K. 2000. Interpreting the Musical Past: Early Music in Nineteenth-Century France. Oxford: Oxford University Press.
   Google Scholar
• Ernst, W. 2016. Sonic Time Machines: Explicit Sound, Sirenic Voices, and Implicit Sonicity. Amsterdam: University of Amsterdam Press.
   Google Scholar
• Fixation du Diapason: Avis, Rapports, Correspondance. 1933–1936 et 1950–1954. Paris: Archives Nationals. AJ/37/486.
   Google Scholar
• Gooday, G. J. N. 2004. The Morals of Measurement: Accuracy, Irony, and Trust in Late Victorian Electrical Practice. Cambridge: Cambridge University Press.
   Google Scholar
• Gribenski, F. 2018. “Negotiating the Pitch: For a Diplomatic History of A, at the Crossroads of Politics, Music, Science and Industry.” In Understanding Musical Diplomacies: Sounds and Voices on the International Stage, edited by C. Prévost and F. Ramel, 173–192. Basingstoke: Palgrave Macmillan.
   Google Scholar
• Hanslick, E. [1861] 2005. “Musik. (Hofoperntheater.– Orchester.– Die Pariser Stimmung). Presse, 7 Oct. 1861.” In Sämtliche Schriften. Historisch-kritische Aufgabe, Band I/5, Aufsätze und Rezensionen 1859–1865, edited by S. Dietmar, 389–394. Vienna, Cologne, and Weimar: Böhlau.
   Google Scholar
• Hanslick, E. [1864] 2011. “Musikalische Briefe. Neue Freie Presse, Sept. 1864.” In Sämtliche Schriften. Historisch-kritische Aufgabe, Band I/7, Aufsätze und Rezensionen 1864–1865, edited by S. Dietmar, 138–144. Vienna, Cologne, and Weimar: Böhlau.
   Google Scholar
• Haynes, B. 2002. A History of Performing Pitch: The Story of “A”. Lanham, Maryland, and Oxford: Scarecrow Press.
   Google Scholar
• Herschel, J. 1859. “Uniform Musical Pitch.” Leeds Mercury 2 (Aug): 1859.
   Google Scholar
• Hervé, E. 2010. “Le Diapason De l’Opéra De Paris.” Musique. Images. Instruments, vol. 12: 197–211.
   Google Scholar
• Jackson, M. 2006. Harmonious Triads: Physicists, Musicians, and Instrument Makers in Nineteenth-Century Germany. Cambridge, MA: MIT Press.
   Google Scholar
• Kaye, G. W. C. 1939. “International Standard of Concert Pitch.” Nature 143: 905–906. doi:10.1038/143905a0.
   Google Scholar
• Korteweg, A. 2017. “Vrijzinnige Partij: Verlaag De Grondtoon, Deze Wekt Verdeeldheid En Agressie Op.” Volkskrant. https://www.volkskrant.nl/nieuws-achtergrond/vrijzinnige-partij-verlaag-de-grondtoon-deze-wekt-verdeeldheid-en-agressie-op~b718e98c/.
   Google Scholar
• Kuijken, B. 2013. The Notation Is Not the Music: Reflections on Early Music Practice and Performance. Bloomington: Indiana University Press.
   Google Scholar
• Lampland, M., and S. L. Starr. 2009. Standards and Their Stories: How Quantifying, Classifying, and Formalizing Practices Shape Everyday Life. Ithaca, NY: Cornell University Press.
   Google Scholar
• LaRouche, L. 1988. “Revive Verdi’s Tuning to Bring Back Great Music.” Executive Intelligence Review 15 (32): 24–34.
   Google Scholar
• Leipp, É., and M. Castellengo. 1977. “Du Diapason et de Sa Relativité.” Revue Musicale 294: 7–10.
   Google Scholar
• Lissajous, J.-A. 1855. “Note sur l’élévation progressive du diapason des orchestres depuis Louis XIV jusqu’à nos jours et sur la nécessité d’adopter un diapason normal et universel.” Bulletin de la Société d’Encouragement pour l’Industrie Nationale 54 (2): 293–297.
   Google Scholar
• Meerens, C. 1873. Le Diapason et la notation musicale simplifiée. Paris: Schott.
   Google Scholar
• Mendel, A. 1978. “Pitch in Western Music since 1500: A Re-Examination.” Acta Musicologica 50 (1/2): 1–328. doi:10.2307/932288.
   Web of Science ®Google Scholar
• Minutes of the Council. 1859. Royal Society of Arts. AD/MA/100/12/02/11.
   Google Scholar
• Minutes of the Musical Pitch Committee. 1859a. Royal Society of Arts. AD/MA/100/12/01/105.
   Google Scholar
• Minutes of the Musical Pitch Committee. 1859b. Royal Society of Arts. AD/MA/100/12/01/105.
   Google Scholar
• Murphy, C. N. 1994. International Organization and Industrial Change: Global Governance since 1850. Oxford: Oxford University Press.
   Google Scholar
• Näke, K. 1862. Ueber Orchesterstimmung: Den deutschen Kapellmeistern bei ihrer Versammlung in Dresden, den 28. September, 1862. Dresden: Liepsch und Reichardt.
   Google Scholar
• Norton, W. M., ed. 1995. The Values of Precision. Princeton: Princeton University Press.
   Google Scholar
• On the Standardisation of the Initial Tuning Frequency. 1971. Resolution (71) 16, adopted by the Ministers’ Deputies on 30 June 1971.
   Google Scholar
• Porter, T. M. 1996. Trust in Numbers: The Pursuit of Objectivity in Science and Public Life. Princeton: Princeton University Press.
   Google Scholar
• Rapports et arrêtés pour l’établissement en France d’un diapason musical uniforme. 1859. Paris: Imprimerie impériale.
   Google Scholar
• Reeves, S. 1860. Sims Reeves to P. Neve Foster [Secretary of the Royal Society Council and Pitch Committee]. London: Royal Society of Arts. PR/GE/121/10/5.
   Google Scholar
• Schaffer, S. 1998. “Physics Laboratories and the Victorian Country House.” In Making Space for Science: Territorial Themes in the Shaping of Knowledge, edited by C. Smith and J. Agar, 149–180. Basingstoke: Palgrave.
   Google Scholar
• Sibille, C. 2013. “La Musique à la société des nations.” In Musiques et relations internationales, edited by A. Marès and F. Anaïs, 15455: 89–102. Special issue of Relations internationales, nos.
   Google Scholar
• Sibille, C. 2016. “Harmony Must Dominate the World”: Internationale Organisationen Und Musik in Der Ersten Hälfte Des 20. Jahrhunderts. Quaderni di Dodis 6: 125–161. Bern: Diplomatische Dokumente der Schweiz.
   Google Scholar
• Société des Nations. 1928. Commission internationale de Coopération intellectuelle, Rapport présenté par M. Destrée au nom de la Sous-Commission des Lettres et des Arts. July 19, 1928. 9. UNESCO Archives, C.I.C.I./L.A./16.
   Google Scholar
• Technical General. 1947. BSI. Standard Pitch. R54/21/2. Reading: BBC Written Archives Center.
   Google Scholar
• Treaty of Versailles. 1919. Part X, Article 282, 22. https://www.loc.gov/law/help/us-treaties/bevans/m-ust000002-0043.pdf
   Google Scholar
• Turner, S. 1997. “Demonstrating Harmony: Some of the Many Devices Used to Produce Lissajous Curves before the Oscilloscope.” Rittenhouse 11 (2): 33–51.
   Google Scholar
• Watchorn, P. 2007. Isolde Ahlgrimm, Vienna and the Early Music Revival. Aldershot and Burlington, VT: Ashgate.
   Google Scholar
• Weber, W. 1984. “La musique ancienne in the Waning of Ancien Régime.” The Journal of Modern History 56 (1): 58–88. doi:10.1086/242620.
   Web of Science ®Google Scholar
• Weber, W. 1992. The Rise of Musical Classics in Eighteenth-century England: A Study in Canon, Ritual and Ideology. Oxford: Clarendon.
   Google Scholar
• Weber, W. 2008. The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms. New York: Cambridge University Press.
   Google Scholar
• Yates, J., and C. N. Murphy. 2019. Engineering Rules: Global Standard Setting since 1880. Baltimore, MA: Johns Hopkins University Press.
   Google Scholar