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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.
Twelve Microtonal Etudes for Electronic Music Media, Op. 28, is a set of pieces in various microtonal equal temperaments composed and released on LP in 1980 by American composer Easley Blackwood Jr. In the late 1970s, Blackwood won a grant from the National Endowment for the Humanities to investigate the harmonic and modal properties of ...
20th-Century Microtonal Notation. New York: Greenwood Press. Richards, Edwin Michael. 1992. The Clarinet of the Twenty-First Century. [Fairport, New York]: E + K Publishers. Riley, Charles A. 1996. Color Codes: Modern Theories of Color in Philosophy, Painting and Architecture, Literature, Music and Psychology. UPNE. ISBN 978-0-87451-742-2.
Sonido 13 is a theory of microtonal music created by the Mexican composer Julián Carrillo around 1900 [1] and described by Nicolas Slonimsky as "the field of sounds smaller than the twelve semitones of the tempered scale." [2] Carrillo developed this theory in 1895 [3] while he was experimenting with his violin.
The definition of "microtonailty" is given in the first sentence of the article: "Microtonal music is music using microtones—intervals of less than an equally spaced semitone." It has nothing to do with tonality, atonality, bitonality, or any similar terms.
These etudes bring out connections and resemblances to twelve-tone music as well as various xenharmonic characteristics, reflected in Twelve Microtonal Etudes for Electronic Music Media. About his 16-tone etude, Blackwood wrote: [4] This tuning is best thought of as a combination of four intertwined diminished seventh chords.
Maqam scales in traditional Arabic music are microtonal, not based on a twelve-tone equal-tempered musical tuning system, as is the case in modern Western music. Most maqam scales include a perfect fifth or a perfect fourth (or both), and all octaves are perfect. The remaining notes in a maqam scale may or may not exactly land on semitones.
For example, when a violin string is depressed (stopped) at its midpoint, it produces a pitch twice the frequency of (an octave above) the open string. When a string is stopped at one-third, the remaining two-thirds vibrates a perfect fifth higher than the open string (almost exactly equivalent to 5/8 of an octave).