Marie-Dominique-Joseph Engramelle's treatise La tonotechnie, ou l'art de noter les cylindres (1775) claimed that automated instruments driven by pinned cylinders would grant listeners direct access to music as the composer conceived it. Standard notation was insufficient, as it did not capture the music's mouvement – its temporal flexibility from moment to moment. Denis Diderot provided an aesthetic justification for automated instruments in terms that linked them to materialist philosophy. Like android automata, which simulated life through automated motion, automated musical instruments encoded live music to simulate the ideal performance of a composer. Yet Engramelle's collaboration with the composer Claude Balbastre, which resulted in a pinned-cylinder notage of one of Balbastre's keyboard pieces, raises crucial questions about the effectiveness of the technology and its notation, and about Engramelle's claims and his own musical skill. Engramelle's project is best understood as a performance unto itself – a manifestation of the cultures of public science that were widespread in the European Enlightenment.

中文翻译：

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“不会出错”：自动化技术与法国启蒙运动对正确表现的追求

玛丽-多米尼克-约瑟夫·恩格拉梅尔的论文La tonotechnie, ou l'art de noter les cylindres(1775) 声称，由固定圆柱驱动的自动化乐器将使听众能够直接接触作曲家所设想的音乐。标准符号是不够的，因为它没有捕捉到音乐的运动– 它时时刻刻的时间灵活性。Denis Diderot 为自动化仪器提供了美学上的理由，将它们与唯物主义哲学联系起来。就像通过自动动作模拟生活的机器人自动机一样，自动乐器对现场音乐进行编码以模拟作曲家的理想表演。然而 Engramelle 与作曲家 C​​laude Balbastre 的合作导致了一个固定圆柱体记号Balbastre 的键盘作品之一，提出了有关技术及其符号的有效性以及 Engramelle 的主张和他自己的音乐技巧的关键问题。Engramelle 的项目最好被理解为本身的表演——一种在欧洲启蒙运动中广泛传播的公共科学文化的体现。