Microtonal music (original) (raw)
Mikrotonální hudba nebo též mikrotonalita je hudba, která záměrně pracuje s různými typy ladění se vzdálenostmi mezi tóny odlišnými od intervalů běžně používaných, nejčastěji s intervaly menšími než půltón. Jako mikrotonální je však dnes možné označit jakoukoli hudbu používající jiné než rovnoměrně temperované ladění.
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| dbo:abstract | Els microtonalismes, en música, s'utilitzen en sistemes de composició en els quals les distàncies entre les notes d'una escala poden ser de menys d'un semitò. Compositors com ara Alois Hába (Txecoslovàquia, 1893 - 1973) qui va utilitzar quarts de tò, (Mèxic, 1875 - 1965), Ivan Alexandrovich Vjschnegradskij (Rússia, 1893 - 1979) Ferruccio Busoni (Itàlia, 1866 - 1924), qui va utilitzar fins i tot sisens de tò, van experimentar amb aquestes escales. La música electrònica facilita l'ús de qualsevol tipus d'afinació microtonal. El 1954, Karlheinz Stockhausen va construir el seu Studie II electrònic en una escala de 81 passos a partir de 100 Hz amb un interval de 51/25 entre passos, i a Gesang der Jünglinge (1955–56) va utilitzar diverses escales, que van des de de set a seixanta divisions iguals de l'octava. Recentment, amb l’ús de sintetitzadors, músics de pop, rock o jazz, com Radiohead, Jon Catler o Jacob Collier, han introduit microtonalitats a les seves composicions. A més a més de les experiències compositives occidentals, a la música índia també s'utilitzen sovint els microtonalismes, concretament els quarts de tò. (ca) Mikrotonální hudba nebo též mikrotonalita je hudba, která záměrně pracuje s různými typy ladění se vzdálenostmi mezi tóny odlišnými od intervalů běžně používaných, nejčastěji s intervaly menšími než půltón. Jako mikrotonální je však dnes možné označit jakoukoli hudbu používající jiné než rovnoměrně temperované ladění. (cs) Η μικροτονική μουσική χαρακτηρίζεται από τη χρήση μουσικών διαστημάτων μικρότερα του ημιτονίου. Η μουσική άλλων πολιτισμών, όπου χρησιμοποιούνται διαστήματα εκτός της διατονική κλίμακας εντάσσεται στην κατηγορία μικροτονικής μουσικής. Ενδεικτικά, η δυτική μουσική γραμμένη σε (π.χ. Αναγεννησιακή μουσική), η Βυζαντινή μουσική, αλλά και η (η βασική κλίμακα της οποίας χωρίζεται σε 22 ) καθώς και άλλων πολιτισμών (Ινδονησία, Βιρμανία, Αφρική κλπ) εντάσσεται στην ευρύτερη κατηγορία μικροτονικής μουσικής. Παραδείγματα αυτής της πρακτικής ανευρίσκονται επίσης και στα μουσικά είδη της τζαζ και των μπλουζ, το δημοτικό τραγούδι και την ηλεκτρονική μουσική του 20ού αιώνα. (el) Mikrotonale Musik arbeitet mit mikrotonalen Intervallen, d. h. Intervallen, die kleiner als ein Halbtonabstand sind. Entsprechende zwischen den herkömmlichen Tonstufen liegende Töne werden zwar in klassischer Musik oder in Pop und Jazz schon immer eingesetzt (in Glissandi, Portamenti etc.), trotzdem spricht man hier nicht von mikrotonaler Musik. Eine derartige Musik muss vielmehr mit einem mikrotonalen Tonsystem verbunden sein oder mikrotonale Zeichen enthalten, die nicht nur sporadisch eingesetzt werden. Es müssen nicht zwangsläufig mehr als zwölf Töne pro Oktave vorhanden sein. (de) Microtonal music or microtonality is the use in music of microtones—intervals smaller than a semitone, also called "microintervals". It may also be extended to include any music using intervals not found in the customary Western tuning of twelve equal intervals per octave. In other words, a microtone may be thought of as a note that falls between the keys of a piano tuned in equal temperament. In Revising the musical equal temperament, Haye Hinrichsen defines equal temperament as “the frequency ratios of all intervals are invariant under transposition (translational shifts along the keyboard), i.e., to be constant. The standard twelve-tone equal temperament (ET), which was originally invented in ancient China and rediscovered in Europe in the 16th century, is determined by two additional conditions. Firstly the octave is divided into twelve semitones. Secondly the octave, the most fundamental of all intervals, is postulated to be pure (beatless), as described by the frequency ratio 2:1.” (en) En el ámbito de la música, el microtonalismo o xenharmónicos es la música que utiliza microtonos (los intervalos musicales menores que un semitono). En la música tradicional occidental, una octava se divide en 12 semitonos iguales. En el microtonalismo se utilizan más notas, generalmente se utiliza el sistema de 15, 17, 19, 22, 31, 41 y 53 notas por octava. El músico estadounidense Charles Ives definía a los microtonos de manera humorística como “las notas entre las teclas del piano”. Muchos teóricos contemporáneos tratan de organizar la división de microtonos de tal manera que se puedan relacionar melódicamente y armónicamente tal como los tonos utilizados en el sistema dodecafónico. Según algunos compositores, el microtono abriría nuevas puertas y horizontes en el mundo de la música contemporánea. (es) 微分音（びぶんおん）は、半音よりさらに細かく分けられた音程を指す。 (ja) 미분음음악(微分音音樂)은 반음으로 나눈 평균율 (1옥타브를 12음)보다 더 작은 음으로 나눈 음계를 사용하는 음악이다. 해리 파치의 등이 있다. (ko) La musica microtonale è la musica che utilizza i microtoni — intervalli musicali minori di un semitono appartenente al sistema equamente temperato, o come disse Charles Ives, le "note tra le fessure" del pianoforte. (it) Microtonale muziek is in de muziektheorie een verzamelnaam voor een aantal uiteenlopende muzieksoorten die gebaseerd zijn op toonstelsels die in afwijking van wat gebruikelijk is in de westerse muziek, gebruikmaken van kleinere toonschreden dan een halve toonafstand. Het normale westerse toonstelselverdeelt het octaaf in 12 gelijke intervallen van een halve toonafstand. Op een pianoklavier zijn er daarom 12 toetsen per octaaf. In de microtonale toonsystemen is dat anders. Om van een bepaalde toon te komen op een toon die een octaaf hoger ligt, moeten meer, en vaak veel meer, dan twaalf stappen doorlopen worden. Dat betekent, logischerwijze, dat de afstand van een toon tot de eerstvolgende hogere toon kleiner is dan in het gebruikelijke toonstelsel met 12 tonen per octaaf. Een dergelijke kleinere afstand noemt men een microtoon, of – wat eigenlijk een beter woord zou zijn – een microinterval. Er zijn talrijke methoden om met microtonen muzikale toonsystemen te bouwen. Min of meer bekende systemen zijn het kwarttoonsysteem, waarin het octaaf in 24 kwarttonen verdeeld wordt, en het 31-toonssysteem met per octaaf 31 kleine stapjes, die diëzen worden genoemd). Er zijn echter nog talloze andere systemen, onder andere met 19, 43 en 53 tonen per octaaf. Voor de nu genoemde systemen geldt dat ze op een bepaalde manier nog een relatie hebben met het westerse, 12-tonige systeem en dat ze daarom in een aantal opzichten nog vrij vertrouwd in westerse oren klinken. Maar men kan ook andersom te werk gaan door een willekeurig microtonaal systeem te kiezen, de mogelijkheden daarvan wat betreft toonladders, intervallen, akkoorden, enzovoorts te onderzoeken en die te benutten in een muzikale compositie. (nl) Muzyka mikrotonowa – muzyka oparta na , czyli interwałach muzycznych mniejszych od półtonu (w praktyce na skali innej niż dwunastostopniowa skala chromatyczna typowa dla klasycznej muzyki europejskiej). W muzyce mikrotonowej oktawa dzielona jest, w zależności od przyjętej konwencji, na większą lub mniejszą liczbę równych lub nierównych interwałów. Jednym z przykładów muzyki mikrotonowej jest muzyka oparta na ćwierćtonach. Oktawa może być podzielona na 13, 19, 22, 31, 53, 72 interwały itd. Każda skala ma swoje indywidualne zależności toniczne, typowe dla instrumentu i swoich oddanych zwolenników. Lista współczesnych kompozytorów mikrotonowych obejmuje setki nazwisk, lecz ich muzyka nie wychodzi poza wąskie grono fanów. Muzyka mikrotonowa jest charakterystyczna dla muzyki wschodu; w Europie znana już od mniej więcej XVIII wieku, lecz powszechnie używana dopiero w modernizmie. Przykładowym utworem mikrotonowym jest Monodies en quarts de ton, II/15 (Pierre Boulez). (pl) Mikrotonal musik, begrepp inom den västerländska konstmusiken för musik som innehåller tonsprång mindre än halvtonsprånget, det minsta språnget i de traditionella skalorna. Kallas ibland även för kvartstonsmusik. Mikrotonerna benämns efter sin storlek i förhållande till heltonen, till exempel kvartston (1/4-dels helton), åttondelston (1/8-dels helton), etc. I vissa delar av världen, exempelvis Indien, ingår mikrotonsintervall i den traditionella musiken. Även i äldre västerländsk folkmusik, bland annat i svensk och norsk vallmusik och spelmansmusik, förekommer intervall som ligger litet utanför de konstmusikaliska (och numera även populärmusikaliska) skalorna och sålunda har vissa likheter med den mikrotonala musiken; men till skillnad från i den utnyttjas de aldrig till att åstadkomma skalintervall mindre än runt en halvton, det är bara fråga om litet andra avstånd mellan de diatoniska intervallen. En del västerländska tonsättare under 1900-talet har skrivit (i den egentliga meningen) mikrotonal musik och försökt införa instrument för den. Som pionjärer inom området brukar man nämna bland annat Harry Partch, , Charles Ives, Alois Hába, Ivan Vysjnegradskij, (piano med 29 ljud i oktav) och Yuri Landman (Moodswinger). (sv) Música microtonal é a música que usa microtons — intervalos menores do que um semitom, ou como Charles Ives declarou, as "notas entre as rachaduras" do piano. (pt) Микротоновая, либо микротоническая (от греч. μικροτονική μουσική) или микротональная (от англ. microtonal music) музыка есть музыка с привлечением выразительности микротонов — интервалов, не совпадающих с полутоном; может также считаться музыкой c интервалами, не находимыми в обычном 12-тоновом равномерно темперированном строе. (ru) 微分音音樂（Microtonal music），或簡稱為微音音樂，微分音即比半音還要小的音程。微分音音樂亦曾在某些原始社會中出現過，古往以來也不乏作曲家和理論家對微分音的研究。 在部分作品中，作曲家也曾少量使用微分音作為裝飾，以在傳統音高之中增加一些變化。他們大多各自使用自創的記譜法，來為傳統的五線譜表示微分音。巴爾托克·貝拉曾直接在音符旁標註箭頭，以上下指示微分音的升降。布洛赫則在音與音之間畫上斜線，以表示微分音的升降。阿洛伊斯·哈巴和潘德列茨基則是從升降記號的變形創造新記號，作為微分音的升降記號。 微分音音樂的記譜法問題，在作曲家之間一直難以達成共識，演奏家也不願意學習冷僻的記譜法。要續繼使用原有的五線譜，還是另外建立一套新的系統，至今也還沒有定論。 除此之外，還有微分音適當距離的問題。較早之前的是從十二個半音再分一半的24個四分之一音的音階。布索尼提倡36個音的音階，以六分之一音為最小音程。阿洛伊斯·哈巴隨後也發展出以十二分之一音為音程符號的樂制，一個八度音有72個音。 設計了一種準確、靈活的新方法。C音以0表示，在一個八度音階裡，以連續的數目來表示音。例如半音音階可以0~11來表示，四分之一音的音階可以0~23表示。在他的著作《發展調性的理論》（A Theory of Evolving Tonality）中，反對以機械化的方式分割音，提倡在音樂演進的過程中擴展音階。他認為音樂的發展是從五聲音階到七聲音階，再從七聲音階到十二聲音階。根據這個發展過程，下一階段應該是十九聲音階，其中原先的十二音是正音，新的七個音是副音（相當於七音階的半音）。 則在《音樂的起源》（Genesis of a Music）詳細研究調律系統和音階，並以此提出43音階。 除此之外，還有演奏方面的問題。雖然聲樂、弦樂可以奏出微分音，但不易正確奏出。或者需要兩架鋼琴，調音相差四分之一音，再各自演奏分配開來的譜。還有專為微分音設計的特殊樂器，如的31音鍵盤。微分音的演奏工具，主要還是電子樂器。 微分音音樂的美學價值，到目前為止也還沒有定論。即使可以分辨出微分音音高上的微小差別，也無法保證其藝術價值。而且對於大多數的音樂家而言，微分音就是沒奏準的音。微分音音樂目前還處於開拓階段，主要還是進行實驗性質的工作。 (zh) |
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| dbp:alt | A complex music staff (en) A music staff with sharps (en) |
| dbp:caption | Composer Charles Ives chose the chord above as a good candidate for a "fundamental" chord in the quarter tone scale, akin not to the tonic but to the major chord of traditional tonality (en) Greek Dorian mode on E, divided into two tetrachords. (en) Two examples of an Ives fundamental chord with quarter tones (en) |
| dbp:date | 2020-11-23 (xsd:date) |
| dbp:direction | vertical (en) |
| dbp:image | Greek Dorian enharmonic genus.png (en) Greek Dorian mode on E, enharmonic genus.mid (en) Ives fundamental chord .ogg (en) Ives quarter tone fundamental chord arp.mid (en) Ives quarter tone fundamental chord.png (en) |
| dbp:reference | Barlow, Clarence . 2001. "The Ratio Book." . Feedback Papers 43. (en) Kotschy, Johannes. 2008. "Mikrotonalität: Eine Zeiterscheinung?" Österreichische Musikzeitschrift 63, no. 7 : 8–15. (en) Mosch, Ulrich. 2008. "Ultrachromatik und Mikrotonalität: Hans Zenders Grundlegung einer neuen Harmonik". In Hans Zender: Vielstimmig in sich, edited by Werner Grünzweig, Anouk Jeschke, and Jörn Peter Hiekel, 61–76. Archive zur Musik des 20. Jahrhunderts, No. 12. Hofheim:Wolke. . (en) Blackwood, Easley. 1991. "Modes and Chord Progressions in Equal Tunings". Perspectives of New Music 29, no. 2 : 166–200. (en) Johnston, Ben. 2006. Maximum Clarity' and other writings on music, ed. B. Gilmore. Urbana and Chicago: University of Illinois Press. (en) Colonna, Fabio. 1618. La sambuca lincea, overo Dell'istromento musico perfetto. Naples: C. Vitale. Facsimile reprint of a copy containing manuscript critical annotations by Scipione Stella , with an introduction by Patrizio Barbieri. Musurgiana 24. Lucca, Italy: Libreria Musicale Italiana, 1991. (en) Adèr, Lidiâ Olegovna [Адэр, Лидия Олеговна]. 2011b. "Микротоновый инструментарий—первые шаги от утопии к практике" [Microtonal Instruments: The First Steps from Utopia to Practice]. In Временник Зубовского института: Инструментализм в истории культуры [Instrumentalism in the history of culture], edited by Evgenia Vladimirovna Hazdan, 52–65. Vremennik Zubovskogo instituta 7. St. Petersburg: Rossijskij Institut Istorii Iskusstv. (en) Mandelbaum, M. Joel. 1961. "Multiple Division Of the Octave and the Tonal Resources of the 19 Tone Temperament". Ph.D. thesis. Bloomington: Indiana University. (en) Stahnke, Manfred. 2010. "About Backyards and Limbos: Microtonality Revisited". In Concepts, Experiments and Fieldwork: Studies in Systematic Musicology and Ethnomusicology, edited by Rolf Bader, Christiane Neuhaus, and Ulrich Morgenstern, with a prefaceby Achim Reichel, 297–314. Frankfurt am Main and New York: Peter Lang. . (en) Lindley, Mark. 2001b. "Temperaments". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. (en) Burns, Edward M. 1999. "Intervals, Scales, and Tuning." In The Psychology of Music, second edition, ed. Diana Deutsch. 215–264. San Diego: Academic Press. . (en) Zweifel, Paul. 1996. "Generalized Diatonic and Pentatonic Scales: A Group-Theoretic Approach". Perspectives of New Music 34, no. 1 : 140–161. (en) Wyschnegradsky, Ivan. 1937. "La musique à quarts de ton et sa réalisation pratique". La Revue Musicale no. 171:26–33. (en) Adèr, Lidiâ Olegovna [Адэр, Лидия Олеговна]. 2011a. "Микротоновая идея: Истоки и предпосылки" [The Concept of Microtonality: Its Origin and Background]. Научный журнал Санкт-Петербургской консерватории [Opera musicologica: Naučnyj žurnal Sankt-Peterburgskoj konservatorii] 3–4, nos. 8–9:114–134. (en) Hába, Alois. 1927. Neue Harmonielehre des diatonischen, chromatischen Viertel-, Drittel-, Sechstel- und Zwölftel-tonsystems. Leipzig: Kistner & Siegel. (en) Carr, Vanessa. 2008. "These Are Ghost Punks". Vanessa Carr's website . (en) Wood, James. 1986. "Microtonality: Aesthetics and Practicality". The Musical Times 127, no. 1719 : 328–330. (en) Barbieri, Patrizio. 1989. "An Unknown 15th-Century French Manuscript on Organ Building and Tuning". The Organ Yearbook: A Journal for the Players & Historians of Keyboard Instruments 20. (en) Barbieri, Patrizio. 2003. "Temperaments, Historical". In Piano: An Encyclopedia, second edition, edited by Robert Palmieri and Margaret W. Palmieri,. New York: Routledge. (en) Werntz, Julia. 2001. "Adding Pitches: Some New Thoughts, Ten Years after Perspectives of New Music's 'Forum: Microtonality Today'". Perspectives of New Music 39, no. 2 : 159–210. (en) Noyze, Dave, and Richard D. James.. 2014. "Aphex Twin Syrobonkers! Interview: Part 2". Noyzelab Blogspot.com.au (en) Fritsch, Johannes G. 2007. "Allgemeine Harmonik, Tonsysteme, Mikrotonalität: Ein geschichtlicher Überblick". In Orientierungen: Wege im Pluralismus der Gegenwartsmusik, edited by Jörn Peter Hiekel, 107–122. Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt 47. Mainz: Schott Musik International. . (en) Barbieri, Patrizio. 2002. "The Evolution of Open-Chain Enharmonic Keyboards c1480–1650". In Chromatische und enharmonische Musik und Musikinstrumente des 16. und 17. Jahrhunderts/Chromatic and Enharmonic Music and Musical Instruments in the 16th and 17th Centuries. Schweizer Jahrbuch für Musikwissenschaft/Annales suisses de musicologie/Annuario svizzero di musicologia 22, edited by Joseph Willimann. Bern: Verlag Peter Lang AG. . (en) Dumbrill, Richard J. 2000. The Musicology and Organology of the Ancient Near East, second edition. London: Tadema Press. . (en) Landman, Yuri. [2008]. "Third Bridge Helix: From Experimental Punk to Ancient Chinese Music and the Universal Physical Laws of Consonance". Perfect Sound Forever (online music magazine) . (en) Fink, Robert. 1988. "The Oldest Song in the World". Archaeologia Musicalis 2, no. 2:98–100. (en) Leedy, Douglas. 1991. "A Venerable Temperament Rediscovered". Perspectives of New Music 29, no. 2 : 202–211. (en) Gilmore, Bob. 1998. Harry Partch: A Biography. New Haven: Yale University Press. . (en) Daniels, Arthur Michael. 1965. "Microtonality and Mean-Tone Temperament in the Harmonic System of Francisco Salinas". Journal of Music Theory 9, no. 1 : 2–51. (en) Vitale, Raoul. 1982. "La Musique suméro-accadienne: gamme et notation musicale". Ugarit-Forschungen 14: 241–263. (en) Blackwood, Easley. 1985. The Structure of Recognizable Diatonic Tunings. Princeton: Princeton University Press. . (en) Haas, Georg Friedrich. 2007. "Mikrotonalität und spektrale Musik seit 1980". In Orientierungen: Wege im Pluralismus der Gegenwartsmusik, edited by Jörn Peter Hiekel, 123–129. Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt 47. Mainz: Schott Musik International. . (en) Aron, Pietro. 1523. Thoscanello de la musica. Venice: Bernardino et Mattheo de Vitali. Facsimile edition, Monuments of music and music literature in facsimile: Second series, Music literature 69. New York: Broude Brothers, 1969. Second edition, as Toscanello in musica... nuovamente stampato con laggiunta da lui fatta et con diligentia corretto, Venice: Bernardino & Matheo de Vitali, 1529. Facsimile reprint, Bibliotheca musica Bononiensis, sezione 2., n. 10. Bologna: Forni Editori, 1969. Online edition of the 1529 text . Third edition, as Toscanello in musica, Venice: Marchio Stessa, 1539. Facsimile edition, edited by Georg Frey. Kassel: Bärenreiter, 1970. Fourth edition, Venice, 1562. English edition, as Toscanello in music, translated by Peter Bergquist. 3 vols. Colorado College Music Press Translations, no. 4. Colorado Springs: Colorado College Music Press, 1970. (en) Barbieri, Patrizio, and Lindoro Massimo del Duca. 2001. "Late-Renaissance Quarter-tone Compositions : The Performance of the ETS-31 with a DSP System". In Musical Sounds from Past Millennia: Proceedings of the International Symposium on Musical Acoustics 2001, edited by Diego L. González, Domenico Stanzial, and Davide Bonsi. 2 vols. Venice: Fondazione Giorgio Cini. (en) Landman, Yuri. n.d. "Yuichi Onoue's Kaisatsuko" on Hypercustom.com . (en) Barbieri, Patrizio, Alessandro Barca, and conte Giordano Riccati. 1987. Acustica accordatura e temperamento nell'illuminismo Veneto. Pubblicazioni del Corso superiore di paleografia e semiografia musicale dall'umanesimo al barocco, Serie I: Studi e testi 5; Pubblicazioni del Corso superiore di paleografia e semiografia musicale dall'umanesimo al barocco, Documenti 2. Rome: Edizioni Torre d'Orfeo. (en) |
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| rdfs:comment | Mikrotonální hudba nebo též mikrotonalita je hudba, která záměrně pracuje s různými typy ladění se vzdálenostmi mezi tóny odlišnými od intervalů běžně používaných, nejčastěji s intervaly menšími než půltón. Jako mikrotonální je však dnes možné označit jakoukoli hudbu používající jiné než rovnoměrně temperované ladění. (cs) Η μικροτονική μουσική χαρακτηρίζεται από τη χρήση μουσικών διαστημάτων μικρότερα του ημιτονίου. Η μουσική άλλων πολιτισμών, όπου χρησιμοποιούνται διαστήματα εκτός της διατονική κλίμακας εντάσσεται στην κατηγορία μικροτονικής μουσικής. Ενδεικτικά, η δυτική μουσική γραμμένη σε (π.χ. Αναγεννησιακή μουσική), η Βυζαντινή μουσική, αλλά και η (η βασική κλίμακα της οποίας χωρίζεται σε 22 ) καθώς και άλλων πολιτισμών (Ινδονησία, Βιρμανία, Αφρική κλπ) εντάσσεται στην ευρύτερη κατηγορία μικροτονικής μουσικής. Παραδείγματα αυτής της πρακτικής ανευρίσκονται επίσης και στα μουσικά είδη της τζαζ και των μπλουζ, το δημοτικό τραγούδι και την ηλεκτρονική μουσική του 20ού αιώνα. (el) Mikrotonale Musik arbeitet mit mikrotonalen Intervallen, d. h. Intervallen, die kleiner als ein Halbtonabstand sind. Entsprechende zwischen den herkömmlichen Tonstufen liegende Töne werden zwar in klassischer Musik oder in Pop und Jazz schon immer eingesetzt (in Glissandi, Portamenti etc.), trotzdem spricht man hier nicht von mikrotonaler Musik. Eine derartige Musik muss vielmehr mit einem mikrotonalen Tonsystem verbunden sein oder mikrotonale Zeichen enthalten, die nicht nur sporadisch eingesetzt werden. Es müssen nicht zwangsläufig mehr als zwölf Töne pro Oktave vorhanden sein. (de) 微分音（びぶんおん）は、半音よりさらに細かく分けられた音程を指す。 (ja) 미분음음악(微分音音樂)은 반음으로 나눈 평균율 (1옥타브를 12음)보다 더 작은 음으로 나눈 음계를 사용하는 음악이다. 해리 파치의 등이 있다. (ko) La musica microtonale è la musica che utilizza i microtoni — intervalli musicali minori di un semitono appartenente al sistema equamente temperato, o come disse Charles Ives, le "note tra le fessure" del pianoforte. (it) Música microtonal é a música que usa microtons — intervalos menores do que um semitom, ou como Charles Ives declarou, as "notas entre as rachaduras" do piano. (pt) Микротоновая, либо микротоническая (от греч. μικροτονική μουσική) или микротональная (от англ. microtonal music) музыка есть музыка с привлечением выразительности микротонов — интервалов, не совпадающих с полутоном; может также считаться музыкой c интервалами, не находимыми в обычном 12-тоновом равномерно темперированном строе. (ru) Els microtonalismes, en música, s'utilitzen en sistemes de composició en els quals les distàncies entre les notes d'una escala poden ser de menys d'un semitò. Compositors com ara Alois Hába (Txecoslovàquia, 1893 - 1973) qui va utilitzar quarts de tò, (Mèxic, 1875 - 1965), Ivan Alexandrovich Vjschnegradskij (Rússia, 1893 - 1979) Ferruccio Busoni (Itàlia, 1866 - 1924), qui va utilitzar fins i tot sisens de tò, van experimentar amb aquestes escales. (ca) En el ámbito de la música, el microtonalismo o xenharmónicos es la música que utiliza microtonos (los intervalos musicales menores que un semitono). En la música tradicional occidental, una octava se divide en 12 semitonos iguales. En el microtonalismo se utilizan más notas, generalmente se utiliza el sistema de 15, 17, 19, 22, 31, 41 y 53 notas por octava. El músico estadounidense Charles Ives definía a los microtonos de manera humorística como “las notas entre las teclas del piano”. (es) Microtonal music or microtonality is the use in music of microtones—intervals smaller than a semitone, also called "microintervals". It may also be extended to include any music using intervals not found in the customary Western tuning of twelve equal intervals per octave. In other words, a microtone may be thought of as a note that falls between the keys of a piano tuned in equal temperament. In Revising the musical equal temperament, Haye Hinrichsen defines equal temperament as “the frequency ratios of all intervals are invariant under transposition (translational shifts along the keyboard), i.e., to be constant. The standard twelve-tone equal temperament (ET), which was originally invented in ancient China and rediscovered in Europe in the 16th century, is determined by two additional c (en) Muzyka mikrotonowa – muzyka oparta na , czyli interwałach muzycznych mniejszych od półtonu (w praktyce na skali innej niż dwunastostopniowa skala chromatyczna typowa dla klasycznej muzyki europejskiej). W muzyce mikrotonowej oktawa dzielona jest, w zależności od przyjętej konwencji, na większą lub mniejszą liczbę równych lub nierównych interwałów. Jednym z przykładów muzyki mikrotonowej jest muzyka oparta na ćwierćtonach. Oktawa może być podzielona na 13, 19, 22, 31, 53, 72 interwały itd. Każda skala ma swoje indywidualne zależności toniczne, typowe dla instrumentu i swoich oddanych zwolenników. Lista współczesnych kompozytorów mikrotonowych obejmuje setki nazwisk, lecz ich muzyka nie wychodzi poza wąskie grono fanów. (pl) Microtonale muziek is in de muziektheorie een verzamelnaam voor een aantal uiteenlopende muzieksoorten die gebaseerd zijn op toonstelsels die in afwijking van wat gebruikelijk is in de westerse muziek, gebruikmaken van kleinere toonschreden dan een halve toonafstand. Het normale westerse toonstelselverdeelt het octaaf in 12 gelijke intervallen van een halve toonafstand. Op een pianoklavier zijn er daarom 12 toetsen per octaaf. (nl) Mikrotonal musik, begrepp inom den västerländska konstmusiken för musik som innehåller tonsprång mindre än halvtonsprånget, det minsta språnget i de traditionella skalorna. Kallas ibland även för kvartstonsmusik. Mikrotonerna benämns efter sin storlek i förhållande till heltonen, till exempel kvartston (1/4-dels helton), åttondelston (1/8-dels helton), etc. (sv) 微分音音樂（Microtonal music），或簡稱為微音音樂，微分音即比半音還要小的音程。微分音音樂亦曾在某些原始社會中出現過，古往以來也不乏作曲家和理論家對微分音的研究。 在部分作品中，作曲家也曾少量使用微分音作為裝飾，以在傳統音高之中增加一些變化。他們大多各自使用自創的記譜法，來為傳統的五線譜表示微分音。巴爾托克·貝拉曾直接在音符旁標註箭頭，以上下指示微分音的升降。布洛赫則在音與音之間畫上斜線，以表示微分音的升降。阿洛伊斯·哈巴和潘德列茨基則是從升降記號的變形創造新記號，作為微分音的升降記號。 微分音音樂的記譜法問題，在作曲家之間一直難以達成共識，演奏家也不願意學習冷僻的記譜法。要續繼使用原有的五線譜，還是另外建立一套新的系統，至今也還沒有定論。 除此之外，還有微分音適當距離的問題。較早之前的是從十二個半音再分一半的24個四分之一音的音階。布索尼提倡36個音的音階，以六分之一音為最小音程。阿洛伊斯·哈巴隨後也發展出以十二分之一音為音程符號的樂制，一個八度音有72個音。 則在《音樂的起源》（Genesis of a Music）詳細研究調律系統和音階，並以此提出43音階。 微分音音樂的美學價值，到目前為止也還沒有定論。即使可以分辨出微分音音高上的微小差別，也無法保證其藝術價值。而且對於大多數的音樂家而言，微分音就是沒奏準的音。微分音音樂目前還處於開拓階段，主要還是進行實驗性質的工作。 (zh) |
| rdfs:label | Microtonalisme (ca) Mikrotonální hudba (cs) Mikrotonale Musik (de) Μικροτονική μουσική (el) Microtonalismo (es) Musica microtonale (it) 미분음음악 (ko) 微分音 (ja) Microtonal music (en) Microtonale muziek (nl) Muzyka mikrotonowa (pl) Música microtonal (pt) Микротоновая музыка (ru) Mikrotonal musik (sv) 微分音音樂 (zh) |
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