Relevant bibliographies by topics / Microtonal music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Microtonal music'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2025

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Journal articles on the topic "Microtonal music"

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Trianov, M. "Microtonality in the Works for Guitar Ensemble of Agustín Castilla-Ávila." Culture of Ukraine, no. 80 (June 30, 2023): 110–17. http://dx.doi.org/10.31516/2410-5325.080.14.

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The relevance is determined by the necessity of a comprehensive systematical study of contemporary microtonal music for the academic guitar ensemble and its significance in the works of Agustín Castilla-Ávila.
 The purpose of the article is to study the peculiarities of microtonality as a special technique of the musical composition in the A. Castilla-Ávila’s works for guitar ensembles.
 The methodology. In the process of research, the methods of abstraction, analysis and synthesis were applied as well as special musicological methods such as methods of musical analysis: theoretical
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FORKERT, ANNIKA. "Microtonal Restraint." Journal of the Royal Musical Association 145, no. 1 (2020): 75–118. http://dx.doi.org/10.1017/rma.2020.6.

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AbstractThis article proposes that the beginnings of twentieth-century microtonal music and thinking were shaped more by restraint in composers’ thinking than by a full embrace of the principle of ‘progress for progress’s sake’. Pioneering microtonal composers such as Ferruccio Busoni, Julián Carrillo, John Foulds, Alois Hába, Charles Ives and Richard Stein constitute an international group of breakaway modernists, whose music and writings suggest four tropes characterizing this first-generation microtonal music: the rediscovery of a microtonal past, the preservation of tonality, the refinemen
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Ribeiro, Felipe de Almeida. "cents_analysis_v1.0." Revista Vórtex 2, no. 2 (2014): 207–8. http://dx.doi.org/10.33871/23179937.2014.2.2.478.

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Computer music patch/abstraction developed with Max 7 (Cycling74) for frequency analysis and music notation. It features a microtonal interval calculator alongside an interface for musical notation. This patch was made for those who deal with the notation of microtonal music.
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Nowack, N. "“Machine Sound” and Microtonal Music." Art & Culture Studies, no. 4 (December 2021): 278–97. http://dx.doi.org/10.51678/2226-0072-2021-3-278-297.

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In the essay devoted to the invention of “machine” (or electromechanical) sound, one tries to rethink the familiar word combination “machine and artificial”. The latter one is not a word game. By the user-friendly separation of an octave into 12 uniform tone steps, the modern tonal system of the western hemisphere is therefore artificial by definition. In contrast to that, the vocal polyphony of the Renaissance is based on an increased usage of acoustically pure or natural intervals. Early attempts to extend instrumental compositions with the benefits of just intonation failed. An unexpected s
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Yoshida, Sanae. "THE MICROTONAL PIANO AND THE TUNED-IN INTERPRETER." Tempo 74, no. 291 (2019): 77–84. http://dx.doi.org/10.1017/s0040298219000998.

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AbstractThis article forms part of ‘The Microtonal Piano – and the tuned-in interpreter’, an ongoing artistic research project at the Norwegian Academy of Music that seeks to demonstrate how microtonality can increase the expressive possibilities of the acoustic piano. Many different modes of playing can result in microtonal sounds, and this article presents a preliminary overview of these possibilities. For the project, new works have been commissioned from several composers, and different aspects of microtonal modes of playing are integrated into these works. Multiphonics is obviously one of
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Pehrson, Joseph. "Lecture about Electronic Microtonal Music at the Theremin Center Electronic Studio of the Moscow Conservatory in March 2004." ICONI, no. 2 (2019): 149–58. http://dx.doi.org/10.33779/2658-4824.2019.2.149-158.

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Joseph Pehrson is a well-known New York-based composer. He studied at the Eastman School of Music and the University of Michigan. He has been active in promoting contemporary music in New York, having been a co-director of the “Composers’ Concordance” concert organization from 1984 to 2011. Pehrson has written music in various styles, including neoclassical and avant-garde, microtonal music. The latter includes electronic compositions with and without solo instruments, which he wrote in the decade of the 2000s. He has delved very deeply into microtonal theory and has written compositions for v
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Zhang, Zhan, and Chie Tsang Isaiah Lee. "MICROTONAL TECHNIQUES IN CONTEMPORARY ZHENG COMPOSITIONS: NEW TECHNIQUES AND SOUNDSCAPES." International Journal of Heritage, Art and Multimedia 7, no. 22 (2024): 54–72. https://doi.org/10.35631/ijham.722005.

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Microtones are becoming increasingly prevalent in contemporary zheng signaling a significant shift in the instrument’s musical landscape. This trend is exemplified in five seminal works by Tang Jianping, Qin Wenchen, Zhu Lin, and Chaoming Tung, revealing how specific microtonal techniques redefine the expressive and technical parameters of this traditional Chinese plucked instrument. Unconventional tunings that deviate from the traditional pentatonic scale, alongside left-hand ornamentation such as pitch bending and sliding, and expanded timbral palettes utilizing harmonics and non-standard pl
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Lindley, M. "A great microtonal survey." Early Music 37, no. 3 (2009): 481–84. http://dx.doi.org/10.1093/em/cap050.

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Benetos, Emmanouil, and André Holzapfel. "Automatic transcription of Turkish microtonal music." Journal of the Acoustical Society of America 138, no. 4 (2015): 2118–30. http://dx.doi.org/10.1121/1.4930187.

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AsKew, A., K. Kennedy, and V. Klima. "Modular Arithmetic and Microtonal Music Theory." PRIMUS 28, no. 5 (2018): 458–71. http://dx.doi.org/10.1080/10511970.2017.1388314.

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Dissertations / Theses on the topic "Microtonal music"

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Kennaugh, Adam Kord Kennaugh. "IMPETUS." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522173859721773.

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Ayers, William R. "Structural Properties and Compositional Processes in Microtonal Equal Temperaments." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin153570341690339.

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Sánchez, Terri. "Micro-images, Genera and Poème Exotique: a Guide to Tone Color Selection, Relative Dynamics and Temporal Pacing for Effective Performances of Three Microtonal Flute Works by Daniel Kessner." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500024/.

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Micro-Images for Solo Flute, Genera for Flute/Alto Flute/Bass Flute and Clarinet/Bass Clarinet, and Poème exotique for Flute and Piano by American composer Daniel Kessner (b. 1946) utilize a hybrid compositional approach in which microtones are incorporated with more traditional chromatic writing. Through representative musical examples from each piece, this document highlights the timbral, dynamic and pacing complexities associated with the microtonal fingerings and prompts flutists to forgo idiosyncratic tendencies in favor of contextually based choices. In order to help guide musicians tow
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Flanagan, Beavan. "Turning over, for 13 instruments, piano, electronic microtonal piano and electronics." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116997.

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Turning Over is a 13-minute composition for 13 instruments, piano, electronic piano and pre-recorded electronics. A strong emphasis on harmony, representing the result of two years of research into various intonation theories of the 17th, 18th and 20th centuries, is reflected in the subtle variations in intonation between the equal-tempered acoustic instruments and the just-intonation tuning of the electronics as well as the electronic piano. The musical discourse reflects philosophical concerns regarding the concept of essence in music and its illusive nature – this translates into a musical
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DeStefano, Dominic. "A Guide to the Pedagogy of Microtonal Intonation in Recent Viola Repertoire: Prologue by Gérard Grisey as Case Study." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277154671.

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Evans, Eleri Ann. "Extending techniques : developing the saxophone's capacity for lower-end dynamics and microtonal playing." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/31099/.

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Adolphe Sax believed his invention, the saxophone, was the link between louder and quieter instruments. Changes to the instrument and to playing techniques have lessened the saxophone’s ability to play quietly, and subtone techniques are now utilized for playing at lower-end dynamics. This PhD proposes a new method for playing the saxophone at lower-end dynamic levels. This method uses breath control to allow lower-end dynamic playing on the saxophone. The new method has been tested through its use in different musical compositions and in combination with different extended techniques. The new
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Porres, Alexandre Torres. "Processos de composição microtonal por meio do modelo de dissonancia sensorial." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285007.

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Orientador: Jonatas Manzolli<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-11T01:31:44Z (GMT). No. of bitstreams: 1 Porres_AlexandreTorres_M.pdf: 11455716 bytes, checksum: ea6618983f2e1d8ab253db22a60f9f9f (MD5) Previous issue date: 2007<br>Resumo: Foram estudados, na presente pesquisa, Sistemas de Afinação com o intuito de investigar a aplicação desse conhecimento em Processos Criativos. Para tal, desenvolvemos uma distinção de abordagens composicionais na música do Século XX, e também estudamos o mecanismo de constru
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Beyer, Day McMaster. "Eclipses and penumbra." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6706.

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“Eclipses” orchestrates the movements of human beings as celestial bodies—as wandering beings that emit waves, cycle in orbit, and create shadows. Subtle microtonal movements, or retunings of the same pitch, tell the story of gradual planetary motion leading to the drama of the eclipse. In the dimmed light of a solar eclipse, even the most familiar surroundings seem unfamiliar and strange. The harmonic material of “Eclipses” was composed using the Rainbow Harmony Matrix, a MaxMSP-based mouse and keyboard interface designed for real-time interaction with a 2D colorized pitch space defined by Ju
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Shiota, Kazuaki. "Iroha." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1338581941.

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Ferreira, Manuel Pedro Ramalho. "Music at Cluny : the tradition of Gregorian chant for the proper of the mass : melodic variants and microtonal nuances /." Ann Arbor (Mich.) : UMI, 1997. http://catalogue.bnf.fr/ark:/12148/cb369820702.

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Books on the topic "Microtonal music"

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Read, Gardner. 20th-century microtonal notation. Greenwood Press, 1990.

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Johnston, Ben. Twelve partials: For flute and microtonal piano. Smith Publications, 1991.

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John, Eaton. Microtonal fantasy: For one player at two pianos. Associated Music Publishers, 1987.

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Curran, Patrick. A computerised assistant for scholastic analysis of microtonal music. The Author], 1990.

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Sábat, Eduardo. Principios de la gama dinamica. ARCA, 1994.

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Jedrzejewski, Franck. Dictionnaire des musiques microtonales. L'Harmattan, 2003.

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Johnston, Ben. String quartet no. 2. Smith Publications, 1989.

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Johnston, Ben. Progression: For solo string bass. Smith Publications, 1996.

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Franck, Jedrzejewski, ed. Une philosophie dialectique de l'art musical: La loi de la pansonorité, version de 1936. L'Harmattan, 2005.

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Hesse, Horst-Peter. Grundlagen der Harmonik in mikrotonaler Musik. Helbling, 1989.

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Book chapters on the topic "Microtonal music"

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Stylianou, Nicholas. "Exploding the Monochord: An Intuitive Spatial Representation of Microtonal Relational Structures." In Mathematics and Computation in Music. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21590-2_21.

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Leinecker, Richard, and William R. Ayers. "Performing Easley Blackwood’s Twelve Microtonal Etudes: An Open-Source Software Development Project." In Mathematics and Computation in Music. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-07015-0_27.

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Romero Porras, Judith. "10. Jean-Étienne Marie and Iannis Xenakis." In Meta-Xenakis. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0390.12.

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Jean-Étienne Marie, French composer and artistic engineer at Radiodiffusion Télévision Française from 1949 to 1975, was in contact with the most prominent composers of his time, among whom Iannis Xenakis. In this context, Marie participated as a technical engineer in the Greek composer’s works Oresteïa and Bohor. Later, Marie took on the task of delving theoretically into Xenakis’s compositional process, thanks to his status as an artistic engineer, defined as: ‘the one who makes sound shots, creating the necessary balance for a good diffusion of a concert. But he is also a musician, who has a
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Schiemer, Greg, Etienne Deleflie, and Eva Cheng. "Pocket Gamelan: Realizations of a Microtonal Composition on a Linux Phone Using Open Source Music Synthesis Software." In IFIP Advances in Information and Communication Technology. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-15214-6_10.

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Giddins, Gary. "The Microtonal Man (Joe Maneri)." In Weather Bird. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195304497.003.0108.

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Abstract One of the infrequent pleasures of ethnic weddings and bar or bat mitzvahs in the era before DJs began contributing to musical unemployment was the chance encounter with jazz players working anonymously in the bands. I can recall coming across sidemen once associated with Fats Navarro, Woody Herman, Thad and Mel, and Cecil Taylor. Musicians call those gigs socials, and often play them for the same reason many critics write liner notes and press releases: It’s a living. As a rule, they bring their jazz expertise to the gig and take little if anything away. Joe Maneri suspended that rul
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Bauer, Amy, and Landon Morrison. "Electroacoustics, Optics, and Microtonal Aesthetics in the Music of Georg Friedrich Haas." In The Oxford Handbook of Spectral Music. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190633547.013.37.

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Abstract The music of Austrian composer Georg Friedrich Haas (b. 1953) is often aligned with the spectralist school of composition, although the composer resists descriptions of his approach that characterize it in terms of any one technical attribute, choosing instead to construct a heterogeneous microtonal aesthetic that cuts across conventional boundaries of genre and style. Haas’s prodigious and varied output since the eighties treats instrumental sound-color and texture as central elements of musical discourse. The expressive force of pitch and timbral effects in his music has long been b
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Kirnbauer, Martin. ""Vieltoenigkeit" instead of Microtonality: the Theory and Practice of Sixteenth-and Seventeenth-Century "Microtonal" Music." In Experimental Affinities in Music. Leuven University Press, 2015. http://dx.doi.org/10.11116/9789461661883.ch03.

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Collier, James Lincoln. "Hot Rhythm." In Jazz. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195079432.003.0004.

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Abstract It has always been understood that the central characteristics of jazz, the sine qua non that distinguishes it from all other known kinds of music, is the rhythmic quality generally called “swing.” Jazz can be played in all sorts of harmonic systems-the standard European diatonic scheme, modes of various kinds, the pentatonic blues scale with its microtonal blue notes. It can be played on virtually any combination of instruments you want to name, employing the available range of instrumental timbres, including a number that were developed specifically for jazz music; and it can be pla
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Schneider, John. "Ben Johnston (1926–2019)." In Interviews with American Composers. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252043994.003.0011.

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Schneider explains “subversive” features of Johnston’s work, with just intonation as “the emancipation of the consonance.” Johnston begins with his interest in tunings, his apprenticeship with Harry Partch, his first microtonal piece, and precompositional structuring. He discusses musical perception (Langer, Stockhausen), his work in overtones, computer and tape music, indeterminacy, working with performers, associations with dance and jazz, and the difficulty of his music. He describes a song cycle then in progress and its system, its resemblance to Knocking Piece (1962), use of computer prog
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Gamer, Carlton, and Robin Wilson. "Microtones and projective planes." In Music and Mathematics. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198511878.003.0010.

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Abstract For hundreds of years mathematicians and musicians have been intrigued by the musical systems obtained when an octave is divided up, not into the usual twelve tones with which we are all familiar, but into a smaller or larger number of tones. Certain of these systems, such as the 19-tone, 31-tone and 53-tone equal-tempered systems, have been much investigated, since they give rise to tunings that more closely approximate particular intervals in the harmonic series (‘just’ tunings) than does the 12-tone equally tempered system; a table comparing these tunings is given below.
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Conference papers on the topic "Microtonal music"

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Yanakiev, I. K. "THE TERMS TEMPERAMENT AND INTONATION IN THE CONTEXT OF THE MICROTONAL MUSIC IN THE LATE 20TH AND 21ST CENTURY. THEORY AND PRACTICE." In ТЕРМИНЫ, ПОНЯТИЯ И КАТЕГОРИИ В МУЗЫКОВЕДЕНИИ. Казанская государственная консерватория имени Н.Г. Жиганова; Московская государственная консерватория имени П. И. Чайковского, 2021. http://dx.doi.org/10.48201/9785854012843_553.

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