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Intervals, Scales, Tones

And the Concert Pitch c = 128 Hz


Maria Renold Translated by Anna Meuss and Bevis Stevens

208 pp.  
8 1/4" x 11 3/4"

Temple Lodge Press

Paperback

$50.00

978-1-906999-73-5


Why is it that certain intervals, scales, and tones sound genuine, while others sound false? Is the modern person able to experience a qualitative difference in a tone’s pitch? If so, what are the implications for modern concert pitch and how instruments of fixed tuning are tuned?

Renold tackles these and many other questions and provides a wealth of scientific data. Her pioneering work is the result of a lifetime of research into the Classical Greek origin of Western music and the search for modern developments. She deepens our musical understanding by using Rudolf Steiner’s spiritual science as a basis, and she elucidates many of his puzzling statements about music.

The results of her work include the following discoveries:
  • The octave has two sizes (a ‘genuine’ sounding octave is bigger than the “perfect octave”).
  • There are three sizes of “perfect fifths.”
  • An underlying “form principle” for all scales can be found.
  • Equal temperament is not the most satisfactory method of tuning a piano.
  • She provides a basis for some of Steiner’s statements, such as, “C is always prime,” and “C = 128 Hz = Sun.”

Intervals, Scales, Tones is a valuable resource for those who wish to understand the deeper, spiritual aspects of music.

Related Titles

  • The Inner Nature of Music and the Experience of Tone
  • Human Hearing and the Reality of Music
  • Expanding Tonal Awareness : A Musical Exploration of the Evolution of Consciousness - from Ancient Tone Systems to New Tonalities - Guided by the Monochord

    Related Titles by Subject:

    Anthroposophy: Art & Literature and Arts & Literature: Music & Singing