Not true. Many professional musicians (like myself) routinely have to sing or play at various pitch levels: A=390Hz, A=415, A=420, A=430, A=435 or so, A=440, a bit sharp of 440 (European orchestras), etc. Many of those musicians have perfect pitch to varying degrees.
Having perfect pitch does not make it impossible, or even difficult, to "enjoy" music at varying pitches, etc.
I think it depends on the musician. A couple of friends of mine struggle against their absolute pitch in historical pitch contexts (especially a notorious 19th century organ tuned to A450) and have to think in microtones, others just dial in and deal with it.
Considering 432hz is not really wrong, just different, does it bother you when listening? Is it the same with microtonal music? Or performances in baroque pitch?
It’s not “wrong” necessarily, but if you’re doing it intentionally, it’s probably because you believe that 432 is somehow better. Obviously, it’s possible to do it for satire reasons, but that’s not as common I would assume.
Great Highland Bagpipes tune to 475-480Hz as our low A. They're also a just-intonation instrument rather than equal tempered, but in a key that seems really weird if you play all 9 notes: it's really 3 pentatonic keys interwoven so the full scale sounds dissonant, but any of the pentatonic scales sounds fine. And there's some weirdness in what scales were chosen so that the melody notes don't cause dissonance with the drones.
> if you’re doing it intentionally, it’s probably because you believe that 432 is somehow better
Or cool in this specific case, or just different and fun. You can intentionally do 13ET as well because you want to, but without claiming it's somehow better. Or use many other choices...
Im not denying that one would do it on purpose knowing there’s not really any benefits. I’m just coming from the view that there isn’t a practical difference between 432 and 440. 13TET, OTOH, gives you both another note in the octave and different pitch ratios.
