Search results
Results from the WOW.Com Content Network
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.
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 most important works include his String quartets, which document and demonstrate the development of the composer's style (microtonal music and his most innovative opera: "Matka" (Mother). Hába's first microtonal composition is Suite , op.1a from 1918, his earliest published mictrotonal piece is the 2nd Quartet (1920) and his last was the ...
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.
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 ...
Microtonal music or microtonality is the music with microtones (also called 'microintervals') used as ornamental inflexions of basically diatonic/chromatic scales or substantial elements of specifically microtonal scales. Some scholars also call 'microtonal' music with intervals which deviate from a semitone of the Western 12-tone equal ...
In 1900, Carrillo attended the International Congress of Music in Paris, presided by Camille Saint-Saëns. He presented a paper, which the Congress accepted and published, on the names of musical sounds. He proposed that, since each note is one sound, each note name (C, D flat, etc.) should be a single syllable. He proposed 35 monosyllabic names.
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.