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An enharmonic keyboard is a musical keyboard, where enharmonically equivalent notes do not have identical pitches. A conventional keyboard has, for instance, only one key and pitch for C sharp and D flat, but an enharmonic keyboard would have two different keys and pitches for these notes. Traditionally, such keyboards use black split keys to express both notes,〔Jerkert 2010, p. 121: "The concept of enharmonicity arises from the fact that certain tone pairs seem to refer to almost identical pitches . For example, from a given C we <...> will find that the pitches of C and D are close to each other (exactly how close will depend on the methods we allow for finding them). C and D are obviously not identical, but they are close enough to be treated as identical in certain musical settings. Therefore, they are enharmonically equivalent. An enharmonic instrument is an instrument where multiple ways of producing enharmonically equivalent tones are available. For example, an enharmonic keyboard could have separate keys for C and D, as well as for each tone in other enharmonic pairs such as D/E, F/G, G/A and A/B. An enharmonic keyboard is thus guaranteed to have more than 12 keys per octave"〕〔Rasch 2009, p. 61: "Enharmonic instruments should be understood as musical instruments presenting a number of pitches per octave that significantly surpasses the twelve notes of the standard western tuning systems (equal temperament, meantone tuning or whatever). This begins with harpsichords or organs with a few split upper keys, goes to keyboards with 17, 19, 31 or 43 notes per octave and ends with theoretical systems and ideas for instruments (less often the instruments themselves) up to far over 100 pitches per octave"〕 but ''diatonic'' white keys may also be split.〔Jerkert 2010, p. 121: "Note, however, that the extra keys need not be found among the sharps and flats. On p. 20 in Barbieri's book, for example, an organ from the end of the 1400's is depicted with no extra black keys but with two E keys, one suitable for use in an E major chord, and another better fitted as the third in a C major chord"〕 As important device to compose, play and study enharmonic music,〔Rasch 2009, p. 61: "Enharmonic music is music <...> that is mostly to be found in the surroundings of enharmonic instruments. Without those instruments nearby, it makes little sense to produce such music"〕 enharmonic keyboard may produce microtones and have separate keys for at least some pairs of not equal pitches that must be enharmonically equal in conventional keyboard instruments.〔HDM 2003, (p. 295 )〕 == The term (divergence of scholar opinions) == 'Enharmonic keyboard' is a term used by scholars in their studies of enharmonic keyboard instruments (organ, harpsichord, piano,〔Tukhmanova 2005, pp. 23-6〕 harmonium and synthesizer) with reference to a keyboard with more than 12 keys per octave. Scholarly consensus about the term's precise definition currently has not been established. In the New Grove Dictionary (2001) Nicolas Meeùs defines an "enharmonic keyboard" as "a keyboard with more than 12 keys and sounding more than 12 different pitches in the octave".〔(Meeùs, Nicolas, 2001. "Enharmonic keyboard", The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie and John Tyrrell ), accessed Oct. 12, 2012.〕 He however does not specify the origin of the term in his article. Rudolph Rasch (2002) suggested to apply the term "enharmonic keyboard" more closely to keyboards with 29-31 keys per octave.〔Rasch 2002, p. ?〕 Patrizio Barbieri (2007), in his turn, raised objection that this usage is not supported by early theoretical works.〔(Barbieri, Patrizio. Pietro della Valle: the Esthèr oratorio (1639) and other experiments in the "stylus metabolicus" (with new documents on triharmonic instruments). In: Recercare XIX/1-2 2007 ). The only theoretical evidence that agrees with Rasch's usage is found in one (not yet published) manuscript by some Benedetto Bresciani, written ca. 1719.〕 As for historical evidence, confusion has often reigned over the terminology of split-keyed instruments, which were called sometimes 'chromatic', sometimes 'enharmonic'. The builders (or persons who only projected the construction) of such keyboard instruments often gave them names without any reference to genus, like 'archicembalo' (Nicola Vicentino), 'cembalo pentarmonico' (Giovanni Battista Doni), 'Clavicymbalum universale' (Michael Praetorius) or even simply 'Clauocembalo' (that is clavicembalo; Gioseffo Zarlino〔(Le istitutioni harmoniche, 1558 )〕〔Burundukovskaya 2008, p. 185: "In 1548 Dominicus Pizaurensis has built harpsichord with 19 divisions of the octave by the order and description of G. Zarlino <...> the earliest enarmonic instrument <...> manufacture date of which is known exactly ((ロシア語:В 1548 году Доминикус Пизауренсис построил клавесин с 19 делениями в октаве по заказу и описанию Дж. Царлино <...> самый ранний энармонический инструмент <...> дата изготовления которого известна точно))"〕). Some modern scholars (Christopher Stembridge, Denzil Wraight) describe instruments with such keyboards as "split-keyed instruments".〔C. Stembridge: 'Music for the Cimbalo Cromatico and Other Split-Keyed Instruments in Seventeenth-Century Italy', Performance Practice Review, v/1 (1992), 5–43; C. Stembridge: 'The Cimbalo Cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence)', Performance Practice Review, vi/1 (1993), 33–59; D. Wraight and C. Stembridge: 'Italian Split-Keyed Instruments with Fewer than Nineteen Divisions to the Octave', Performance Practice Review, vii/2 (1994), 150–81.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「enharmonic keyboard」の詳細全文を読む スポンサード リンク
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