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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 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.
Folk taxonomy in the sense of linguistic culture, and thus injustice, is a divided subject built upon a variety of distinct theories and methods of analysis. Still, there is apparent data that some languages, such as those of Native Americans, have tendencies to favor certain folk taxonomic classifications over others giving the speakers false ...
A semitone is thus made of two steps, and three steps make a three-quarter tone or neutral second, half of a minor third. The 8-TET scale is composed of three-quarter tones. Four steps make a whole tone. Quarter tones and intervals close to them also occur in a number of other equally tempered tuning systems.
The widespread use of the oud led to many variations on the instrument, including the saz, a Turkish long-necked lute that remains very popular in Turkey. [6] Another popular string instrument is the qanoun, developed by Farabi during the Abbasids era. Legend has it that Farabi played qanoun in court and alternately made people laugh, cry, or ...
The word bassoon comes from French basson and from Italian bassone (basso with the augmentative suffix -one). [3] However, the Italian name for the same instrument is fagotto , in Spanish, Dutch, Danish, Czech, Polish, Serbo-Croatian and Romanian it is fagot , [ 4 ] in German it is fagott and in Portuguese it is fagote .
His technique included the use of polytonality, polyrhythm, tone clusters, aleatoric elements, and quarter tones. Edgard Varèse wrote highly dissonant pieces that utilized unusual sonorities and futuristic, scientific-sounding names. He pioneered the use of new instruments and electronic resources (see below).