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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 ...
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.
This involves using a new musical scale. A long musical piece can modulate over many maqamat but usually ends with the starting maqam (in rare cases the purpose of the modulation is to actually end with a new maqam). A more subtle form of modulation within the same maqam is to shift the emphasis from one jins to another so as to imply a new maqam.
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.
12-tone equal temperament chromatic scale on C, one full octave ascending, notated only with sharps. Play ascending and descending ⓘ. 12 equal temperament (12-ET) [a] is the musical system that divides the octave into 12 parts, all of which are equally tempered (equally spaced) on a logarithmic scale, with a ratio equal to the 12th root of 2 (≈ 1.05946).
Quadrangularis Reversum, one of Partch's instruments featuring the 43-tone scale. The 43-tone scale is a just intonation scale with 43 pitches in each octave.It is based on an eleven-limit tonality diamond, similar to the seven-limit diamond previously devised by Max Friedrich Meyer [1] and refined by Harry Partch.
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In tone languages, where syllables are associated with a certain tone, some words are distinguished only by their suprasegmental profile. Therefore, syllable drum languages can often transfer a message using the tonal phonemes alone. In certain languages, the pitch of each syllable is uniquely determined in relation to adjacent syllables.