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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.
Tales and Songs from the Bible of Hell four singers with real-time electronic transformation and pre-recorded 4 track tape (1979) Trois Visages à Liège electronic music (1961) Votre Faust (1960–68), opera for five actors, four singers, twelve instruments, and electronic music, libretto by Michel Butor. Plus related "satellite" works:
Five songs for voice with violin accompaniment in quarter-tones to texts by Karel Hynek Mácha (1936, performed at the 1938 ISCM Festival in Paris) 3 Duos for 2 quarter-tone clarinets (1972) Suite for quarter-tone piano (1935-36) Milan Ristić. Duo for violin and violoncello, Op. 11 (1938) [citation needed]
Harry Partch (June 24, 1901 – September 3, 1974) was an American composer, music theorist, and creator of unique musical instruments.He composed using scales of unequal intervals in just intonation, and was one of the first 20th-century composers in the West to work systematically with microtonal scales, alongside Lou Harrison.
Gesang der Jünglinge ("Song of the Youths"), electronic and concrete music, Nr. 8 (1955–56) Geburts-Fest ("Festival of Birth"), choir music with sound scenes for choir a cappella and tape, ex Nr. 56, from act 1 of Montag aus Licht (1987)
Aristoxenos, Didymos and others presented the semitone as being divided into two approximate quarter tone intervals of about the same size, while other ancient Greek theorists described the microtones resulting from dividing the semitone of the enharmonic genus as unequal in size (i.e., one smaller than a quarter tone and one larger). [21] [22]
The melody is noted for its use of microtones, especially at the cadences at the end of each of its four sections when three tones between ti and do (and in the case of the third section, the halfway tone between ti and do is further divided) are used. This creates a mysterious effect that sounds modern to new listeners.
The Band's 1968 song "The Weight" from their debut album Music from Big Pink features a dissonant vocal refrain with suspensions culminating in a 3-note cluster to the words "you put the load right on me." The sound of tone clusters played on the organ became a convention in radio drama for dreams. [73]