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The words "microtone" and "microtonal" were coined before 1912 by Maud MacCarthy Mann in order to avoid the misnomer "quarter tone" when speaking of the srutis of Indian music. [2] Prior to this time the term "quarter tone" was used, confusingly, not only for an interval actually half the size of a semitone, but also for all intervals ...
The word maqam in Arabic means place, location or position. The Arabic maqam is a melody type. It is "a technique of improvisation" that defines the pitches, patterns, and development of a piece of music and is "unique to Arabic art music". [1] There are 72 heptatonic tone rows or scales of maqamat. [1]
Additionally, they can take form as commentary to a statement, an answer to a question or repetition of a phrase following or slightly overlapping the initial speaker(s). [2] It corresponds to the call and response pattern in human communication and is found as a basic element of musical form, such as the verse-chorus form, in many traditions.
The earliest use I have found so far of the word "microtone" is in 1912 (two years before the earliest citation in the OED), but the article disparages the "widespread use" of the word. This suggests that, amongst ethnomusicologists at least, by 1912 "microtonal" and/or "microtonality" had already been in use for some time.
Medieval Europe was the lone exception to this rule, developing harmonic music in the 14th/15th century as musical culture transitioned form sacred music (meant for the church) to secular music. [119] South Asian and West Asian music were similar to each other for their use of microtone.
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The lower key is typically used for C ♯ 2, but can be used for muting or flattening notes in the tenor register. The upper key is used for E ♭ 2, E 4, F 4, F ♯ 4, A 4, B ♭ 4, B 4, C 5, C ♯ 5, and D 5; it flattens G 3 and is the standard fingering for it in many places that tune to lower Hertz levels such as A440.