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"Microtone" is also sometimes used to refer to individual notes, "microtonal pitches" added to and distinct from the familiar twelve notes of the chromatic scale, [22] as "enharmonic microtones", [23] for example. In English the word "microtonality" is mentioned in 1946 by Rudi Blesh who related it to microtonal inflexions of the so-called ...
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.
Tone is the use of pitch in language to distinguish lexical or grammatical meaning—that is, to distinguish or to inflect words. [1] All oral languages use pitch to express emotional and other para-linguistic information and to convey emphasis, contrast and other such features in what is called intonation, but not all languages use tones to distinguish words or their inflections, analogously ...
The following table shows the 24 consonant phonemes found in most dialects of English, plus /x/, whose distribution is more limited. Fortis consonants are always voiceless, aspirated in syllable onset (except in clusters beginning with /s/ or /ʃ/), and sometimes also glottalized to an extent in syllable coda (most likely to occur with /t/, see T-glottalization), while lenis consonants are ...
The frontmost key is used, in addition to the thumb key, to create G ♭ 2 and G ♭ 3; on many bassoons this key operates a different tone hole to the thumb key and produces a slightly flatter F ♯ ("duplicated F ♯ "); some techniques use one as standard for both octaves and the other for utility, but others use the thumb key for the lower ...
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).
One voice slides down from 386 cents to 347, the other slides up from 0 cents to 32, yet the harmonic shift can be dramatic. The best-known example of tonality flux, and one of the two Partch uses as illustration, is the beginning of his composition The Letter, in which the kithara alternates between two chords, one major and one minor, with the minor third of one nestled inside the major ...
[43] Though that is not quite accurate, it does appear to be the first piece to employ chromatic clusters in such a manner. A solo piano piece Cowell wrote the following year, The Tides of Manaunaun (1917), would prove to be his most popular work and the composition most responsible for establishing the tone cluster as a significant element in ...