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Journal articles on the topic 'Microtonal music'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

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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2

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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4

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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8

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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10

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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11

Brook, Taylor. "ORCHESTRATION AND PITCH PRECISION IN THE ORCHESTRAL MUSIC OF MARC SABAT." Tempo 75, no. 295 (2020): 17–30. http://dx.doi.org/10.1017/s0040298220000650.

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AbstractThis article examines the relationship between orchestration and microtonality in the music of Marc Sabat through a score-based analysis of two recent works, Asking Ocean (2016), for string quartet and large ensemble, and The Luminiferous Aether (2018), for large orchestra. Excerpts from these two compositions are discussed to highlight the challenges of composing for orchestral forces in a musical style that demands a high degree of microtonal pitch precision. Through retuning, alteration, and a sensitivity to the construction, techniques and performance practices of orchestral instru

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Fuller, Ramon. "A Study of Microtonal Equal Temperaments." Journal of Music Theory 35, no. 1/2 (1991): 211. http://dx.doi.org/10.2307/843813.

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13

Doty, David B., and Gardner Read. "20th-Century Microtonal Notation." Notes 48, no. 4 (1992): 1309. http://dx.doi.org/10.2307/942152.

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14

Howe Jr., Hubert. "19-Tone Theory and Applications." ICONI, no. 4 (2020): 81–99. http://dx.doi.org/10.33779/2658-4824.2020.4.081-099.

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Microtonal music is one of those subjects that has always been around, but few people have ever had the will to investigate it thoroughly. The main reason why more people have not dealt with microtonal music is that there are almost no instruments that allow composers to experiment with it. In spite of all this, the music of many cultures even at the present time employs non-equaltempered scales, and even Western music did until the eighteenth century, when mathematicians worked out the logarithmic basis of equal temperament. In this article, the author explains how he became interested in 19-

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Reinhard, Johnny. "A Microtonal Analysis of Igor Stravinsky’s Concept of Pitch and Its Resulting Scale." IKONI / ICONI, no. 1 (2022): 39–58. http://dx.doi.org/10.33779/2658-4824.2022.1.039-058.

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Igor Stravinsky towers as the most prominent composer of the 20th century. When asked on a television broadcast what the Maestro believed to be the next direction in music, Stravinsky claimed that it would be microtonality. The author of the article, who is a prominent specialist in microtonality, proposes a microtonal interpretation in performances of Stravinsky’s musical compositions. He substantiates the validity of such an approach from Stravinsky’s particular spelling of certain chromatic intervals in his musical works, which clearly infer certain intervals from the overtone series, as we

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Rasch, Rudolf, and Gardner Read. "Review of Gardner Read, 20th-Century Microtonal Notation." Perspectives of New Music 29, no. 1 (1991): 258. http://dx.doi.org/10.2307/833079.

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17

Sims, Ezra. "Microtonal Keyboards Looking for Implementors." Computer Music Journal 13, no. 3 (1989): 9. http://dx.doi.org/10.2307/3680005.

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Wilson, Dave. "A Conflux of Musical Logics: Memory, History and the Improvisative Music of SLANT." Leonardo Music Journal 30 (December 2020): 79–83. http://dx.doi.org/10.1162/lmj_a_01095.

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The author discusses SLANT, an improvisation-based project he coconceived, recorded and performed on tenor saxophone in duo with pianist and new music specialist Richard Valitutto. The project deconstructs sound worlds such as late nineteenth-century Romanticism, avant-garde/free jazz, microtonal spectralism and southeast European rural music. Drawing on George Lewis's systems of improvisative musicality, the article analyzes SLANT through the lens of sociomusical experience. The author shows how Afrological, Eurological and other systems of musicality participate together, manifesting in dial

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Keislar, Douglas. "History and Principles of Microtonal Keyboards." Computer Music Journal 11, no. 1 (1987): 18. http://dx.doi.org/10.2307/3680175.

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Sabat, Marc. "THREE TABLES FOR BOB." Tempo 70, no. 278 (2016): 47–63. http://dx.doi.org/10.1017/s0040298216000334.

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To distinguish differences of harmony, to compose music so that players and listeners may sense these variations naturally, in real time, the representation of harmonic space in musical notation must be precise yet simple to read. Shadings of intonation are most clearly conceived in relation to consonant, untempered intervals. Intervals derived from a common frame of reference may be represented by microtonal signs, which suggest potentially tuneable intervallic relationships.

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21

Muzzulini, Daniel. "Isaac Newton's Microtonal Approach to Just Intonation." Empirical Musicology Review 15, no. 3-4 (2021): 223–48. http://dx.doi.org/10.18061/emr.v15i3-4.7647.

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In 1665 Isaac Newton wrote a notebook in which he collected materials for a musical treatise which was never completed. He investigated ways of approximately representing just intonation scales by dividing the octave into many equally sized intervals. Strictly speaking, equal divisions of the octave are incompatible with just intonation, and just intonation intervals are audibly different from the intervals played on a modern equally tempered modern piano. By increasing the number of parts of an equal division, just intonation can be approximated arbitrarily well. Scales with more than 60 micr

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Muzzulini, Daniel. "Isaac Newton's Microtonal Approach to Just Intonation." Empirical Musicology Review 15, no. 3-4, 2020 (2021): 223–48. https://doi.org/10.5281/zenodo.5667250.

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In 1665 Isaac Newton wrote a notebook in which he collected materials for a musical treatise which was never completed. He investigated ways of approximately representing just intonation scales by dividing the octave into many equally sized intervals. Strictly speaking, equal divisions of the octave are incompatible with just intonation, and just intonation intervals are audibly different from the intervals played on a modern equally tempered modern piano. By increasing the number of parts of an equal division, just intonation can be approximated arbitrarily well. Scales with more than 60 micr

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23

Anders, Torsten, and Eduardo R. Miranda. "A Computational Model for Rule-Based Microtonal Music Theories and Composition." Perspectives of New Music 48, no. 2 (2010): 47–77. http://dx.doi.org/10.1353/pnm.2010.0009.

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24

Bates, Joe. "PROPORTION AND SYMMETRY AS MUTUAL ANTAGONISTS IN TUNING: SOME QUARTER-TONE RESOURCES." Tempo 78, no. 309 (2024): 67–78. http://dx.doi.org/10.1017/s004029822400007x.

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AbstractQuarter-tones have the dubious honour of being the microtonal default in Western art music, yet they have been of little recent interest to those most involved with extended intonation. Other microtonal equal divisions have appealed as pragmatic approximations of consonant just-intonation intervals, something that quarter-tones do not offer. This article proposes that quarter-tones can be valued in a different way, for their ability to generate symmetrical harmonic resources that divide the fourth and fifth as the tritone does the octave. These resources are offered as examples of a br

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Raja Yusof, Raja Zulkarnain. "Sacred Tone: The Spiritual and Psychoacoustic Dimensions of the Arabic Maqāmāt." Journal of Creative Arts 2, no. 1 (2025): 88–110. https://doi.org/10.24191/jca.v2i1.5042.

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Arabic maqamat (singular: maqam) form the foundational modal system of traditional Arabic music, characterized by intricate microtonal structures and distinct melodic progressions. Historically, maqamat have been deeply intertwined with Islamic spirituality, mystical traditions, and music therapy, functioning as a bridge between the physical and metaphysical realms (Wright, 1995a). This study explores the psychoacoustic, spiritual, and therapeutic dimensions of maqamat, focusing on their role in Islamic ritual, Sufi practices, and contemporary sound healing. By integrating insights from ethnom

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D’Angour, Armand. "Vocables and Microtones in Ancient Greek Music." Greek and Roman Musical Studies 4, no. 2 (2016): 273–85. http://dx.doi.org/10.1163/22129758-12341279.

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This article discusses ways in which non-lexical utterances are linked in ancient Greek music to the representation of musical phrases. It first considers the possible use of ‘vocables’ in ancient Greek, i.e. vocal utterances lacking lexical content which may be substituted for the rhythms of a song for the purpose of the instruction or transmission of music. A system of vocables (distinct from solmization) outlined by Aristides Quintilianus is investigated to see if it can be shown to be related to principles of vowel pitch modification, whereby phonetically ‘high’ vowels tend to be enunciate

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Kuhn, Magdalena. "Roman, Byzantine and Arab Influences on Coptic Traditional Liturgical Music and the Importance of Microtonal Inflections." Journal of the Canadian Society for Coptic Studies 12 (December 3, 2020): 59–68. http://dx.doi.org/10.5913/jcscs.2020.49876213.

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Traditional Coptic music is composed of liturgical chants sung homophonically by men. Its first musical nota tions date only from the nineteenth century. Music cultures do not exist in isolation but tend to adapt to their surroundings. Hence often even some folkloristic elements can be found in them. Copts prefer to seek their identity in the pharaonic past. However, stylistically musicologists of the nineteenth/twentieth century were colored in their vision of this, for them unknown, mysterious music, by their own time in their efforts to bring it within the scope of their understanding. In t

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Sabat, Marc. "PANTONALITY GENERALISED: BEN JOHNSTON'S ARTISTIC RESEARCHES IN EXTENDED JUST INTONATION." Tempo 69, no. 272 (2015): 24–37. http://dx.doi.org/10.1017/s0040298214001004.

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AbstractThis article explores the use of innovatory tonal relations in the music of the American composer Ben Johnston (b. 1926). Johnston's use of a microtonal tuning system employing scales and intervals in extended just intonation is described, and passages from several of his compositions (especially String Quartets nos 2 and 5) are analysed to show the use of these pitch resources in practice. The article also situates Johnston's contribution in the context of older theories of harmony and the mechanics of pitch perception.

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Hart, Adam. "Microtonal Tunings in Electronic Dance Music: A Survey of Precedent and Potential." Contemporary Music Review 35, no. 2 (2016): 242–62. http://dx.doi.org/10.1080/07494467.2016.1221635.

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Stange, Karolin, Christoph Wick, and Haye Hinrichsen. "Playing Music in Just Intonation: A Dynamically Adaptive Tuning Scheme." Computer Music Journal 42, no. 3 (2018): 47–62. http://dx.doi.org/10.1162/comj_a_00478.

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We investigate a dynamically adaptive tuning scheme for microtonal tuning of musical instruments, allowing the performer to play music in just intonation in any key. Unlike other methods, which are based on a procedural analysis of the chordal structure, our tuning scheme continually solves a system of linear equations, rather than relying on sequences of conditional if-then clauses. In complex situations, where not all intervals of a chord can be tuned according to the frequency ratios of just intonation, the method automatically yields a tempered compromise. We outline the implementation of

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Hutchinson, Mark. "STAIRWAYS IN THE DARK: SOUND, SYNTAX AND THE SUBLIME IN HAAS'SIN VAIN." Tempo 73, no. 288 (2019): 7–25. http://dx.doi.org/10.1017/s0040298218000943.

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AbstractThe glowing critical response to Georg Friedrich Haas'sin vain(2000) has focused particularly on the visceral effect created by Haas's use of ‘endless’ scales, richly saturated microtonal chords, and passages that take place in total darkness. Discussion of these features has often led reviewers and commentators to use forms of description and praise which evoke the old (but lately rejuvenated) aesthetic category of the sublime. This article explores these connections with sublime aesthetics in more detail as a way of clarifying both philosophical and interpretative perspectives onin v

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Milne, Andrew J., Robin Laney, and David B. Sharp. "Testing a spectral model of tonal affinity with microtonal melodies and inharmonic spectra." Musicae Scientiae 20, no. 4 (2016): 465–94. http://dx.doi.org/10.1177/1029864915622682.

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Tonal affinity is the perceived goodness of fit of successive tones. It is important because a preference for certain intervals over others would likely influence preferences for, and prevalences of, “higher-order” musical structures such as scales and chord progressions. We hypothesize that two psychoacoustic (spectral) factors—harmonicity and spectral pitch similarity—have an impact on affinity. The harmonicity of a single tone is the extent to which its partials (frequency components) correspond to those of a harmonic complex tone (whose partials are a multiple of a single fundamental frequ

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Lock, Hans-Gunter. "Gradus ad Parnassum: International Online Training for Microtonal Singing with 22 Pitches within the Octave." Journal of Ethnology and Folkloristics 19, no. 1 (2025): 157–88. https://doi.org/10.2478/jef-2025-0008.

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Abstract In the musical cultures of the world, including the oral traditions of European peoples, a wide variety of musical scales have been and still are used. In contemporary Western music, growing awareness of other musical cultures, as well a certain saturation with the sounds of the 12-tone scale have led to experimentation with alternative scale systems. Applying a microtonal scale that divides the octave into 22 equal parts (22-EDO), this article discusses possible strategies for training musically educated Western adults. According to experiences from the research and teaching/learning

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Balasubramanian, Abhinav. "AI-Powered Musical Fusion: Integrating Carnatic Music With Global Genres." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 09, no. 02 (2025): 1–7. https://doi.org/10.55041/ijsrem28942.

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The integration of traditional and contemporary music creates a unique opportunity to foster cultural exchange and innovation. This paper proposes a generative AI framework to blend the intricate melodic and rhythmic elements of Carnatic music with global genres such as Western classical, jazz, and electronic music. Carnatic music, known for its microtonal ragas, complex tala cycles, and improvisational depth, presents both challenges and opportunities for AI-driven fusion. The proposed framework leverages advanced machine learning techniques to synthesize melodies, rhythms, and instrumentatio

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Ader, Lidia. "MICROTONAL STORM AND STRESS: GEORGY RIMSKY-KORSAKOV AND QUARTER-TONE MUSIC IN 1920S SOVIET RUSSIA." Tempo 63, no. 250 (2009): 27–44. http://dx.doi.org/10.1017/s0040298209000345.

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‘Passed by the political censor’ – Commissar LunacharskyThe new Russian generation of composers in 1920s Russia is widely known as the ‘musical avant-garde’. Maximilian Shteinberg, the professor of the Petrograd-Leningrad Conservatoire, who studied under Nikolay Rimsky-Korsakov, called his pupils more simply: ‘musical lefties’. The older generation tried to define this new trend that was evolving as the younger generation' explorations in the fields of musical systems, sounds, subjects, etc. Among the radical musical events in 1920s Soviet Russia, the quarter-tone system of temperament takes f

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Hill, Jonathan D. "Myth, Spirit Naming, and the Art of Microtonal Rising: Childbirth Rituals of the Arawakan Wakuenai." Latin American Music Review / Revista de Música Latinoamericana 6, no. 1 (1985): 1. http://dx.doi.org/10.2307/779963.

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Kilbane, Matthew. "A Speech-Musical Modernism: Harry Partch's Lyric Media." PMLA/Publications of the Modern Language Association of America 135, no. 3 (2020): 511–29. http://dx.doi.org/10.1632/pmla.2020.135.3.511.

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Recent work at the intersection of literary history and sound studies has taught us to regard lyric poetry as a sonic medium in its own right, but what sort of medium is it? This article unfolds lyric's intrinsic intermediality by way of the American composer Harry Partch and his brief collaboration with William Butler Yeats. Rekindling Yeats's turn-of-the-century dream of a new art uniting word and music, Partch's experiments setting poetry to microtonal music involved notating the subtle melodies of speech with new scales and instruments–homemade lyres, in fact. Built to compete with the pho

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Milne, Andrew J., Robin Laney, and David B. Sharp. "A Spectral Pitch Class Model of the Probe Tone Data and Scalic Tonality." Music Perception 32, no. 4 (2015): 364–93. http://dx.doi.org/10.1525/mp.2015.32.4.364.

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In this paper, we introduce a small family of novel bottom-up (sensory) models of the Krumhansl and Kessler (1982) probe tone data. The models are based on the spectral pitch class similarities between all twelve pitch classes and the tonic degree and tonic triad. Cross-validation tests of a wide selection of models show ours to have amongst the highest fits to the data. We then extend one of our models to predict the tonics of a variety of different scales such as the harmonic minor, melodic minor, and harmonic major. The model produces sensible predictions for these scales. Furthermore, we a

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Pratt, Ryan. "RELATIVE INTONATION: NON-SYMMETRICAL IMPLICATIONS OF LINEAR AND LOGARITHMIC INTERVALLIC MEASUREMENT." Tempo 77, no. 306 (2023): 22–50. http://dx.doi.org/10.1017/s0040298223000347.

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AbstractThis article investigates intervallic measurement and the tacit limitations engendered by a prevalent symmetrical perspective of measuring intervals. Various numerical and instrumental limitations and further detail of harmonic and melodic structures, such as Farey sequences, are illustrated. This approach distinguishes itself from a perspective of prime limits, explored by Harry Partch and others. A standardisation of ‘microtonal’ notation is not suggested; rather, the restrictions provided by any such standardisation are re-examined through an objective lens of ratios, to harness the

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Mungan, Esra, Z. Funda Yazıcı, and Mustafa (Uğur) Kaya. "Perceiving Boundaries in Unfamiliar Turkish Makam Music." Music Perception 34, no. 3 (2017): 267–90. http://dx.doi.org/10.1525/mp.2017.34.3.267.

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Music segmentation is a widely researched topic within music perception. Even though there is extensive data on the role of surface structure features and music training (e.g., Deliège, 1987) in segmentation, not much is known yet about the influence of implicit knowledge-based features acquired through musical enculturation. The goal of our study was to fill this gap. Makam music-trained musicians, nonmusicians, and Western listeners marked their segmentations online as they listened to mostly 19th century, unfamiliar Turkish makam tunes, all recorded in a Qānūn timbre on MIDI with retained m

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Hähnel, Tilo. "Commentary on Microtonal Analysis of "Blue Notes" and the Blues Scale by Court B. Cutting." Empirical Musicology Review 13, no. 1-2 (2019): 100. http://dx.doi.org/10.18061/emr.v13i1-2.6600.

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This commentary discusses the target paper Microtonal Analysis of "Blue Notes" and the Blues Scale by Court B. Cutting. Overall, the paper is an interesting and very valuable attempt to shed light on the intonation practice of blue notes in traditional blues music, using an empirical approach which is based in modern acoustic measurements. While the approach and empirical results presented in the target paper undoubtedly have their merits, the paper nonetheless raises some methodological and conceptual questions, leading to some further thoughts that are discussed in this commentary. The issue

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Kant, David. "The Happy Valley Band: Creative (Mis)Transcription." Leonardo Music Journal 26 (December 2016): 76–78. http://dx.doi.org/10.1162/lmj_a_00973.

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In the author’s work as a composer, he explores how state-of-the-art digital sound analysis can change how we listen to music. The Happy Valley Band (HVB) is a product of this exploration and encompasses a repertoire of microtonal deconstructions of pop songs, an open-source software suite and a dedicated performing ensemble. This article documents the author’s experience and artistic practice within this project—a process of translation between digital analysis, human listening and written notation, in which a machine-learning algorithm is trained to hear pop songs and the results of the mach

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Szeider, Stefan H. "The semantics of musical scores ‐ an approach to the mechanical composition of microtonal music." Interface 19, no. 2-3 (1990): 175–84. http://dx.doi.org/10.1080/09298219008570564.

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Bowan, Kate. "Living between Worlds Ancient and Modern: The Musical Collaboration of Kathleen Schlesinger and Elsie Hamilton." Journal of the Royal Musical Association 137, no. 2 (2012): 197–242. http://dx.doi.org/10.1080/02690403.2012.717467.

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AbstractMusicology has recently re-evaluated the nature, form and purpose of musical biography, reflecting a broader ‘biographical turn’ in the humanities. This article takes up recent challenges to move beyond the traditional model of the ‘life and works’ of ‘great’ composers and joins the search for new paradigms of musical biography. The lives of the Australian microtonal composer Elsie Hamilton (1880–1965) and the British music archaeologist Kathleen Schlesinger (1862–1953), and their collaboration, which spanned three decades, are offered as a case study that demonstrates the importance o

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BARTON, JOHN. "Possibilities of the Interval: Heidegger and the Reimagining of the Interval in Luigi Nono’s A Carlo Scarpa." Journal of the Royal Musical Association 147, no. 2 (2022): 313–36. http://dx.doi.org/10.1017/rma.2022.17.

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AbstractFrom 1976, the works of the Venetian composer Luigi Nono (1924–90) are marked by a noticeable change in both his philosophical and his political outlook. What results is a decade (1980–9) of compositions that feature poetry in librettos, live electronics, the spatialization of sound and a prominent use of microtonal pitches. Together these create completely novel soundscapes that are noticeably different from his previous output. This article will examine a particular influence – the philosophy of Martin Heidegger – in the creation of the 1984 piece for large ensemble A Carlo Scarpa. T

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Fiddler, Allyson. "Performing Austria: Protesting the Musical Nation." IASPM Journal 4, no. 1 (2013): 5–20. http://dx.doi.org/10.5429/657.

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The Austrian national elections of 1999 and the subsequent government formation in 2000 sparked a wave of protests, both at home and abroad, due to the inclusion of the extreme-right, populist Freedom Party of Austria (FPÖ) into the coalition. This article examines a body of protest music (ranging from heavy metal, rock and punk, to mock-choral and microtonal) that came about between 1999 and 2004 as a direct response to the turn in Austrian politics towards the extreme right. In interrogating this protest music I discern an important and hitherto under-researched facet of identity-(de)constru

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Barabanova, Daria A. "THREE QUARTER-TONE PIECES BY CHARLES IVES: INNOVATIVE APPROACH TO THE PIANO PERCEPTION." Arts education and science 3, no. 40 (2024): 53–61. http://dx.doi.org/10.36871/hon.202403053.

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The article is devoted to studying the music of one of the founders of American national music, Charles Ives (1874–1954). Charles Ives was an outstanding American composer, organist and Pulitzer Prize winner. In the context of traditional music, Ives’s piano style gains freshness and innovation through the use of modern writing techniques. On the example of Three Quarter-Tone Pieces for piano (1925), the article traces exactly how traditional and innovative compositional features are reflected in Ives’s work. In these pieces, the composer imposes a new technique of quarter-tone writing based o

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Zhu, Jiaqiang, Xiaoxiang Chen, Fei Chen, Caicai Zhang, Jing Shao, and Seth Wiener. "Distributional learning of musical pitch despite tone deafness in individuals with congenital amusia." Journal of the Acoustical Society of America 153, no. 5 (2023): 3117. http://dx.doi.org/10.1121/10.0019472.

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Congenital amusia is an innate and lifelong deficit of music processing. This study investigated whether adult listeners with amusia were still able to learn pitch-related musical chords based on stimulus frequency of statistical distribution, i.e., via distributional learning. Following a pretest-training-posttest design, 18 amusics and 19 typical, musically intact listeners were assigned to bimodal and unimodal conditions that differed in distribution of the stimuli. Participants' task was to discriminate chord minimal pairs, which were transposed to a novel microtonal scale. Accuracy rates

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Knyt, Erinn. "Teresa Balough and Kay Dreyfus, eds. Distant Dreams: The Correspondence of Percy Grainger and Burnett Cross 1946–60 (review)." Context, no. 48 (January 31, 2023): 113–16. http://dx.doi.org/10.46580/cx34958.

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Percy Grainger (1882–1961) is frequently remembered as a virtuoso pianist, a collector of folk songs, and an idiosyncratic composer. Yet in addition to his other activities, he also designed and built numerous sound-producing machines. These experimental machines enabled Grainger to begin realising the experimental music he envisioned, that is, sounds freed from traditional rhythms and pitches. Grainger initially tried to create the new sounds he imagined with known instruments such as the theremin, but eventually began modifying instruments to create his own sound machines, such as the microt

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Keislar, Douglas. "Corrections to the Douglas Keislar Article: History and Principles of Microtonal Keyboards." Computer Music Journal 11, no. 3 (1987): 9. http://dx.doi.org/10.2307/3679731.

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