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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.
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 ...
Hába in 1957. Alois Hába (21 June 1893 – 18 November 1973) was a Czech composer, music theorist and teacher. He belongs to the important discoverers in modern classical music, and major composers of microtonal music, especially using the quarter-tone scale, though he used others such as sixth-tones (e.g., in the 5th, 10th and 11th String Quartets), fifth-tones (Sixteenth String Quartet ...
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.
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 ...
He dedicated most of his work to microtonal and to mixed music. His works and his theorisation in microtonal music were significant in the modern knowledge of European microtonal music. Like Julian Carrillo , he explored the potential of microtonal scales, either widespread (1/4 tone, 1/3rd tone, 1/6tone) or less known (1/7th tone, 1/5th tone).
His professional debut (12 note ET music) occurred on a Composers Forum program in New York, 1959. In 1960, compelled by his ear, he began writing microtonal music, and continued to do so for the rest of his life, with the occasional exception being taped music for dancers.