Microtonal Music Research Papers - Academia.edu (original) (raw)

This paper discloses a study on microtonal music and its phenomenon is different musical spheres. Based on research of new techniques, it revives hidden layouts of the course of late 19th - early 20th century music development. During this observation and analysis I establish forgotten works and names, less known scores. The research was carried out in Russia, UK, France, Germany and Czech Republic in archives of microtonal leaders. This allowed uniting major centers of microtonal music together and analyzing it in general context. The paper contains five parts. Terminological overview includes discussions on the unification of a joint notion, observing such conceptions as xenharmony, ekmelic, super-chromatic or ultrachromatic, microdimensional, microchromatic and microtonal music. Discussing the phenomenon of microtonal music as a whole, it is necessary to analyze the numerous prerequisites for the idea of splitting sound into micro-components at the beginning of the 20th century, to reveal the general cultural and social processes that have become the impetus for its development and dissemination, and, finally, to pay attention to the parallel experiences of splitting the whole into parts in the second part of the paper. The next observation includes analysis of auditory sensations evolution and physical processes accompanying the century of innovation. The key part of the paper proposes the classification of existing works by systems used in the works. Author introduces basic and applied features with succeeding subdivisions. A short look at marginal culture of composers, who worked in microtonal field, shows some conclusions and reflections on microtonal composers’ destiny and results of their work.

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- Microtonal Music

An approach towards outlining a practical understanding of ancient music. Particularly dealing with aspects of ancient Greek music, as recounted by the translated fragments of Aristoxenus, Ptolemy and others. In brief, a summary guide defining a method for practically realising harmonic relations, rhythmic poetics, the varieties of the tonal genera, and tetrachord theory using standard techniques of rational string division.
(Please note: This is an incomplete review copy and as such does not contain the full text of this manuscript. If you would like the full picture, please do get in touch with me.)

- by Daniel Zachariah Franks
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- Music, Music Education, Music History, Music Theory

A review by Carlo Serafini

- by Carlo Serafini
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- Music Theory, Microtonal Music
- by Lidia Ader
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- Microtonal Music, Contemporary Music, Avant-Garde, 20th Century Avantgarde

In this paper, we introduce a new approach to computer-aided microtonal improvisation by combining methods for (1) interactive scale navigation, (2) real-time manipulation of musical patterns and (3) dynamical timbre adaption in solidarity with the respective scales. On the basis of the theory of well-formed scales we offer a visualization of the underlying combinatorial ramifications in terms of a scale labyrinth. This involves the selection of generic well-formed scales on a binary tree (based on the Stern-Brocot tree) as well as the choice of specific tunings through the specification of the sizes of a period (pseudo-octave) and a generator (pseudo-fifth), whose limits are constrained by the actual position on the tree. We also introduce a method to enable transformations among the modes of a chosen scale (generalized and refined “diatonic” and “chromatic” transpositions). To actually explore the scales and modes through the shaping and transformation of rhythmically and melodically interesting tone patterns, we propose a playing technique called Fourier Scratching. It is based on the manipulation of the “spectra” (DFT) of playing gestures on a sphere. The coordinates of these gestures affect score and performance parameters such as scale degree, loudness, and timbre. Finally, we discuss a technique to dynamically match the timbre to the selected scale tuning.

- by Andrew Milne and +2
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- Music, Music Theory, Computer Music, New Interfaces for Musical Expression

This article introduces the idea of tuning invariance, by which relationships among the intervals of a given scale remain the “same” over a range of tunings. This requires that the frequency differences between intervals that are considered the “same” are “glossed over” to expose underlying similarities. This article shows how tuning invariance can be a musically useful property by enabling (among other things) dynamic tuning, that is, real-time changes to the tuning of all sounded notes as a tuning variable changes along a smooth continuum. On a keyboard that is (1) tuning invariant and (2) equipped with a device capable of controlling one or more continuous parameters (such as a slider or joystick), one can perform novel real-time polyphonic musical effects such as tuning bends and temperament modulations—and even new chord progressions—all within the time-honored framework of tonality. Such novel musical effects are discussed briefly in the section on dynamic tuning, but the bulk...

This paper is an attempt to create a theoretical foundation for equal division of the octave (EDO) tunings. It is specific to 15 notes per octave (15 EDO) tunings, but should be applicable to more broadly. The majority of the non12tone compositions that I am aware of either use a modified version of 12 EDO scales (major, minor, etc.), or simply use trial and error to find interesting melodies and harmonies. I have found a way to define 15 EDO scales according to their own character that should help composers work with any EDO tuning. Section 1. Tuning The tuning I use is based on the way I discovered microtonal non12tone music. I was aware of microtones as used in Indian and midEastern music, (although I only learned about the theory behind them relatively recently). I was not aware of non12tone music when I read about a method of setting 12tone equal temperament notes in the book "e, The Story of a Number" by Eli Maor. In this, an imaginary meeting between Johann Bernoulli and J. S. Bach is portrayed, in which Bach describes the difficulty in determining the frequency of notes in an equal temperament tuning. Bernoulli immediately grasps the problem and presents a mathematical solution, which is to graph a logarithmic spiral and intersect it with 12 lines that are spaced at equal angles around the origin of the XY axis.

- by Jim Sansing
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- Harmonic Analysis, Music Theory, Microtonal Music, Electronic Music

In 1932 the Polish-Jewish theorist and organist Joseph Yasser (1893-1981) published in New York A Theory of Evolving Tonality, in which he described a 19-tone equal temperament. He predicted the use of this microtonal system in Western music as a future development of the 12-tone equal temperament. The nucleus of Yasser's book is the reconstruction of an historical process – the evolving tonality – that leeds from the pentatonic system (infra-diatonic, 5 tones per octave) to the diatonic (7 tones per octave) till the chromatic (supra-diatonic, 12 tones per octave). In the music of his contemporaries, like Skrjabin, Debussy and Schoenberg, Yasser recognizes the affirmation of the chromatic scale as a system of 12 indipendent tones. The next step will be the introduction of 7 new auxiliaries tones, that will create a new microchromatic scale (supra-diatonic scale, 12 + 7 tones per octave). The indirect influence on Yasser's theory of microtonal experiments in New York during the 1920s is supposed. Furthermore, in this essay other 19-tone equal temperament experiences are put in relashionship with the evolving tonality.

- by Luca Conti
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- Microtonal Music, XXth century music, Joseph Yasser
- by Greta Couper
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- Musical Composition, Music Theory, Microtonal Music, Atonal Music

Discusses reasons for the prolific output of quarter-tones by Ivan Aleksandrovich Vishnegradsky (1893-1979) by comparison with Russian futurism.Vishnegradsky’s ideas and aesthetics are shown to be similar to those of the Russian futurist movement. Few commentators have linked Vishnegradsky’s influences with Russian futurism, and there is lack exploration of these potential influences. A biography and literature review is included. Through analysis of Vishnegradsky’s early writings, Vishnegradsky’s aesthetics are compared to the aesthetics of the Russian futurists, to show similarities and common goals. Vishnegradsky’s 1923 article “Raskreposhcheniye zvuka” has also been translated into English. Specific areas explored included color and sound, Pan-sonority, and the theme of practical versus imaginable with comparison to the “free music” idea of Nikolai Kul’bin. Vishnegradsky’s aesthetics are shown to have been shaped by international avant-gardes, originating in Russian symbolism. Vishnegradsky shared in the group ideology of the Russian avant-garde, which was linked to some extent to Russian futurism.

- by Jacob Wielgosz
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- Microtonal Music, Russian Music, Music and Ideology, Harmony, microtonality
- by Luca Conti
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- Musical Composition, Musicology, Microtonal Music, Musical Analysis

Quartertones are explored via Ives, Wyschnegradsky, Haba, and Mazulis of Lithuania, who serialized quartertones in 2000. Microtonal aesthetics are explored regarding conditioning of ear training and hearing towards 12 tone equal... more

- by Peter Thoegersen
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- Microtonal Music, Harmony, microtonality, Charles Ives, Alois Haba
- by Norman Carey
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- Music Theory Pedagogy, Music Theory, Microtonal Music, Tuning and Temperament

This volume is based on the conviction that microtonality is a fundamental change-indicating concept in Western music history. The book focuses on the development of microtonal music in Eastern and Central Europe from World War I to the present. The authors examine how diverse concepts of microtonality have given way to new composition theories and practices in the region, which has long been marginalized in general histories of avant-garde and post-avant-garde music. These scholars hold the view that even between WWI and WWII, microtonal music and its theoretical reflection were outstanding contributions of Eastern and East-Central European composers to the contemporary discourse of avant-garde music. That provoked radical changes in the composition and performance practice of new music and affected several generations, sustaining and transforming early avant-garde insights.

Las teorías musicales actuales incursionan en la utilización de diversas tecnologías y saberes para poder alcanzar nuevos planteamientos en la guitarra. A lo largo del siglo XX se recuperan y desarrollan los conceptos de tratadistas renacentistas y románticos que desembocan en la emancipación del ruido, el cromatismo extremo, la micro-tonalidad y la síntesis electrónica.
Así considero pertinente el desarrollar las ideas actuales al respecto, de la manera más simple y concisa posible, pero con la terminología y propiedades pertenecientes y actuales de la jerga musical microtonal y la acústica.

- by Bruno Dragomir Petricio Anzaldo
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- Mathematics, Physics, Acoustics, Music

Study in Spanish of several deblas by different proffesional flamenco singers in order to establish a repertoire of ornaments and to describe the microtonal and melodic behaviour.
An specific concept of modality has been developep for the case. Analysis and notational resources have been provided for analyzing different flamenco "palos", through several levels.
Also they may be found contributions related to general tuning, rhythmic features, duration and key among other aspects.

- by Miguel Gil
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- Ethnomusicology, Microtonal Music, Flamenco, Spanish Dance and Music (incl. Flamenco)

In this paper a new model for microtonal music is developed. After an exploration of the historic and modern use of 12TET the features that give rise to successful models for pitch structure are deduced. Existing models for microtonal music, including those of Partch, Balzano, Blackwood and Sethares, Plamondon and Milne are critically analysed for their strength, practicality and thoroughness, along with the quarter-tone music of Hába, Ives and Wyschnegradsky. No model is found to be of the same strength, practicality and thoroughness of the historic and current use of 12TET. After deducting that 22TET is the most appropriate platform for such a model, a model for microtonal music is detailed. The resulting model is seen to be just as strong as use of 12TET, and more varied, with several scales of different consonances available.

- by Lillian M Hearne
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- Music, Musical Composition, Music Theory, Musicology

Georg Friedrich Haas, a composer known for his use of microtonality, is often associated with spectralism, but he is also heavily influenced by other microtonal traditions, as well as 12-tone atonal styles. In whatever style he is writing, Haas regularly uses equal divisions of the traditional semitone, such as quarter-and sixth-tones, to approximate overtone spectra. The title for his work, limited approximations, is an expression of the necessity to temper even very finely tuned systems of pitch. This 30-minute work from 2010 is subtitled "concerto for six pianos in twelfth-tones and orchestra." By retuning five of the pianos, a complete scale with seventy-two equal divisions of the octave (72EDO) is accessible. This paper elaborates on non-spectralist influences on this work's harmonic language, analyzes the effectiveness of the tensions created within and between two main harmonic systems employed in the work (chromatic 12EDO and 72EDO used to closely approximate the overtone spectrum), and explores the various ways in which Haas exploits microtonality to amalgamate and dichotomize the harmonic systems at play.

- by Scott A Miller
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- Music Theory, Microtonal Music, Twentieth-century Music, Orchestral Composition

My dissertation project consists of an album of three pieces based on mystical processes and shimmering intonation systems, a series of scores, and a Codex of imaginary illuminated works. I was driven to create these systems to break out of my creative habits and discover new ways of working. This direction was inspired by research on holy numbers and their relationship to temperament and knowledge, Deep Listening, EVP (Electronic Voice Phenomenon), Infrasound, medieval traditions, and my readings in archaeoacoustics and aural architecture. These studies led to meditations and reflection on sound, the perceptual characteristics of space and objects, and the creative use of these characteristics.

- by Kristina Wolfe
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- Musical Composition, Microtonal Music, Soundscape Studies, Sound studies

Dentro de las herramientas de expresión utilizadas en la música nos encontramos con el microtonalismo, el cual se comenzó a emplear en la música occidental, durante el S.XX. No obstante los compositores que optaron por hacer uso de este recurso, tenían un enfoque musical, que nada tenía que ver con la música popular. Es por ello que el propósito de esta investigación, es demostrar la utilización de los intervalos microtonales como una herramienta al servicio de la expresividad del músico dentro de un plano armónico, ya que su uso dentro de lo melódico es más común pero pasa mayormente desapercibido para el oyente sin conocimientos sobre música, esto ocurre más que nada por lo poco conocido, lo poco utilizado y la forma en que se aplica dentro de la cultura occidental, más concretamente en la música popular. Esta investigación se propone ampliar el conocimiento que se tiene acerca de las divisiones microtonales, aportando así a su difusión, y esperando que este trabajo ayude a construir un nuevo enfoque sobre el microtonalismo dentro de la música popular, y toda la gama de posibilidades que podría traer dentro de su perspectiva teórica. Para ello se va a utilizar una metodología experimental, por lo que se dejara registro de la experimentación realizada. Además también se aplicara una metodología autoetnográfica, de esta manera al realizar las diversas experimentaciones, se podrá también integrar la experiencia al realizar esta investigación.

- by leonardo yuseff
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- Music, Microtonal Music, Jazz Theory, Musical Instruments
- by Andrew Milne and +1
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- Music Theory, New Interfaces for Musical Expression, Sound and Music Computing, Microtonal Music

The main objective of this article is to discuss the concept of modulation in extended harmonic structures. Tuning systems based on arithmetic divisions can be observed by means of the prime-factors in their constitutive interval ratios. According to this study, each prime-factor is represents a unique dimension in a geometrical depiction of interval cycles.
An extension of harmonic space may initially focus on the next prime-factors following the fifth proportion, i. e., seven, 11, and 13. All of them require thorough analysis by means of their inner structural and symbolic signification and through the harmonic vectors that each of them implies.
A conception of novel scales based on justly tuned partials may require the use of ratios taken from both the overtone and the theoretical undertone series. The consequences of this dualist model of harmonics (such as it has been proposed by Hugo Riemann and Hans Kayser) may be complemented by the use of subparticular scale models (such as Kathleen Schlesinger’s harmoniai) which may be applied to a consistent harmonic structure only under certain conditions.
Regarding the necessities for the consistent structural use of extended harmony, aspects of temperament as well as of just intonation will be discussed, along with the practical challenges to produce complicate intervals in unconventional harmonic surroundings.
This article will refer to Schenkerian graphic analyses of some of my own scores. The investigations are not intended to serve as a portrayal of a personal artistic style. Rather, illustrating this approach in this way seems necessary because a similar attempt has not yet been proposed by other contemporary composers.

- by Stefan Pohlit
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- Music Theory, Microtonal Music, Contemporary Music, Harmony
- by John C Franklin
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- Ancient History, Music, Musical Composition, Early Music

The portfolio contains seven compositions with varying instrumentation, ranging from string quartet to computer processed voice ensemble to purely electronic forces. Fata Morgana is the largest work in the portfolio and written for female voice ensemble, percussion and live computer processing or tape. Its main concern is that of extending the human voice via the auditory illusion of the Shepard’s tone. String Quartet No 1 contains excessive glissade to expose microtonal qualities. Haute Rorschach, When all memory is gone, Drift, Gala and Mutation 2 all explore complex and unique microtonal tuning systems and are written with instrumentation left relatively open ended: given certain conditions, both acoustic and electronic forces are able to perform it.
The most prominent compositional aspect that features in the portfolio is an approach towards the experience of movement in terms of colour, form, texture and space. Material consists of lines and curves such as glissandi or the Shepard’s tone auditory illusion, pitch fields, waves, pulses, flickering morphologies, distorted glows, morphs and slow transformations. This material originates from focusing on the internal properties of sounds, for example, the use of microtonal intervals that are clustered to produce beating patterns, third tones and unique colors. Macro forms are determined by this material and range from drone to simplistic, repetitive gestures. The final approach is a focus on the experience of sound in and as space: most pieces feature artificial acoustics as prominent part of the material and overall texture.

- by Cobi van Tonder
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- Musical Composition, Sonic Art, Microtonal Music, Minimalism
- by Cuca Medina
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- Orchestral Conducting, Early Music, Music Education, Music History
- by Ramkrishna Das
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- Microtonal Music, Notation (Music), Indian Classical Music, Hindustani music

Previous work has demonstrated the existence of keyboard layouts capable of maintaining consistent fingerings across a parametrized family of tunings. This paper describes the general principles underlying layouts that are invariant in both transposition and tuning. Straightforward computational methods for determining appropriate bases for a regular temperament are given in terms of a row-reduced matrix for the temperament-mapping. A concrete description of the range over which consistent fingering can be maintained is described by the valid tuning range. Measures of the resulting keyboard layouts allow direct comparison of the ease with which various chordal and scalic patterns can be fingered as a function of the keyboard geometry. A number of concrete examples illustrate the generality of the methods and their applicability to a wide variety of commas and temperaments, tuning continua and keyboard layouts.

- by Andrew Milne and +1
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- New Interfaces for Musical Expression, Sound and Music Computing, Microtonal Music, Music Cognition

A partir de la conmemoración de la muerte de Julián Carrillo, músico mexicano fundador del sistema microtonal conocido como Sonido 13, anunciado al mundo en 1924, y dada la existencia de un contemporáneo suyo, Augusto Novaro, quien publicó una teoría de afinación llamada el Sistema Natural en 1927, se hace una contextualización histórica acerca de la dicotomía entre los sistemas llamados naturales y los temperamentos, particularmente el temperamento igual de doce semitonos.

In this paper, we introduce a small family of novel bottom-up (sensory) models of the Krumhansl and Kessler (1982) probe tone data. The models are based on the spectral pitch class similarities between all twelve pitch classes and the tonic degree and tonic triad. Cross-validation tests of a wide selection of models show ours to have amongst the highest fits to the data. We then extend one of our models to predict the tonics of a variety of different scales such as the harmonic minor, melodic minor, and harmonic major. The model produces sensible predictions for these scales. Furthermore , we also predict the tonics of a small selection of microtonal scales—scales that do not form part of any musical culture. These latter predictions may be tested when suitable empirical data have been collected.

- by Andrew Milne and +1
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- Music Theory, Music Psychology, Microtonal Music, Music Cognition
- by John C Franklin
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- Religion, History, Ancient History, Cultural History

Easley Blackwood was a pioneer in the use of small equal divisions of the octave other than 12 for musical composition. Such works present an obstacle for musical analysis. This essay presents analyses of the second and third movements of Blackwood’s Suite for Guitar in 15-Equal Tuning. After first considering the relationship between just intonation, 12TET, 15TET and Neo-Riemannian theory, an attempt is made to apply Roman numeral and neo-Riemannian analyses to the movements, in order to deduce which form of analysis is more appropriate. It is found that, whilst a neo-Riemannian analysis is always appropriate to the movements given its use of major and minor triads in common tone progressions, a traditional Roman numeral analysis is impossible. It is found that a Roman numeral analysis may be applied to movement III with respect, rather than to the traditional diatonic scale, to Blackwood’s decatonic scale, but that the neo-Riemannian approach is more useful overall.

- by Lillian M Hearne
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- Music, Music Theory, Musicology, Neo-Riemannian Analysis

Bağlama is an Anatolian (Asia Minor) necked lute, which is plucked with fingers or plectrum. Ancient lutes found in Asia Minor, Middle East, the Caucasus and Asian originated necked lutes are the ancestors of the bağlama. This article is... more

- by Tolgahan Çoğulu
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- Microtonal Music, Classical Guitar, Guitar, Turkish music

¿Cómo se crean discursivamente las nociones de tradición e identidad?; ¿cuáles son y cómo se dan los procesos que informan las prácticas de consumo y producción cultural relacionados con la música?; ¿cuál es el papel del consumo de ideas foráneas en la elaboración de conocimientos locales?; ¿cómo debemos abordar el concepto de «imitación» en el contexto del desequilibrio de poderes que permea la historia de Latinoamérica?; ¿qué implicaciones tiene hablar de «imitación» y «autenticidad» en la producción y consumo de artefactos culturales latinoamericanos?; ¿cuáles son las relaciones de poder que informan dichos discursos? Este libro es el resultado de la búsqueda de respuestas a estas preguntas y de explorar las nociones de «imitación» y «autenticidad» en la construcción política de los discursos que en la década de 1920 permitieron a artistas e intelectuales inventar o escribir su lugar en la sociedad y en la historia mexicanas, construir deseos individuales y colectivos, e imaginar su futuro y el de la nación.

- by Alejandro L. Madrid
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- Cultural History, Latin American Studies, Musicology, Mexican Studies

An overview on Italian pioneers of microtonal music (ca. 1920-1960), with a special focus on Edoardo Cavallini, Professor of "Armonia pluricromatica" at the Accademia di Santa Cecilia in the 40's, and his pupil and assistant Emilio Scarani. Published in: Miriam Viapiana et alii, L’Archivio Edoardo Cavallini presso la Biblioteca del Conservatorio Luigi Cherubini di Firenze, Firenze University Press 2019

- by Luca Conti
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- Music History, Microtonal Music, Historical Musicology, Ferruccio Busoni
- by Daniel K . S . Walden
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- Philology, Ancient History, History of Science and Technology, Music

The Bohlen-Pierce (BP) microtonal tuning system developed in the 1970's is enjoying a re-emergence among experimental composers. The current paper is a tutorial for building a simple synthesizer using the BP tuning system, an alternate suggestion for notation using the system, and a set of three etudes composed for the synth (recording available at https://soundcloud.com/skyron/three-bp-etudes-bargsten ).

- by Joey Bargsten
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- Musical Composition, New Media, Experimental Media Arts, Microtonal Music