History Microtonal music

greek dorian mode (enharmonic genus) on e, divided 2 tetrachords.  play (help·info)

the hellenic civilizations of ancient greece left fragmentary records of music—e.g. delphic hymns. ancient greeks approached creation of different musical intervals , modes dividing , combining tetrachords, recognizing 3 genera of tetrachords: enharmonic, chromatic, , diatonic. ancient greek intervals of many different sizes, including microtones. enharmonic genus in particular featured intervals of distinctly microtonal nature, smaller 50 cents, less half of contemporary western semitone of 100 cents. in ancient greek enharmonic genus, tetrachord contained semitone of varying sizes (approximately 100 cents) divided 2 equal intervals called dieses (single diesis , δίεσις); in conjunction larger interval of 400 cents, these intervals comprised perfect fourth (approximately 498 cents, or ratio of 4/3 in intonation) (west 1992, 160–72). theoretics described several diatonic , chromatic genera (some chroai, coloration of 1 specific intervallic type), enarmonic genus 1 (argumented 1 smallest intervals possible).

guillaume costeley s chromatic chanson , seigneur dieu ta pitié of 1558 used 1/3 comma meantone , explored full compass of 19 pitches in octave (lindley 2001a).

the italian renaissance composer , theorist nicola vicentino (1511–1576) worked microtonal intervals , built keyboard 36 keys octave known archicembalo. while theoretically interpretation of ancient greek tetrachordal theory, in effect vicentino presented circulating system of quarter-comma meantone, maintaining major thirds tuned in intonation in keys (barbour 1951, 117–18).

in 1760 french flautist [charles?] de lusse published treatise, l art de la flute traversiere, surviving copies of conclude composition (possibly added year or 2 after actual publication of volume) incorporating several quarter tones, titled air à la grecque, accompanied explanatory notes tying realization of greek enharmonic genus , chart of quarter-tone fingerings entire range of one-keyed flute. shortly afterward, in letter published in mercure de france in september 1764, celebrated flautist pierre-gabriel buffardin mentioned piece , expressed interest in quarter tones flute (koenig 1995, iii, 1, 9–10, 52–55, 116–19; reilly , solum 1992, passim).

jacques fromental halévy composed cantata prométhée enchaîné solo voice, choir , orchestra (premiered in 1849), in 1 movement (choeur des océanides) used quartertones, imitate enharmonic genus of greeks.

in 1910s , 1920s, quarter tones (24 equal pitches per octave) received attention such composers charles ives, julián carrillo, alois hába, ivan wyschnegradsky, , mildred couper.

alexander john ellis, in 1880s produced translation of hermann helmholtz s on sensations of tone, proposed elaborate set of exotic intonation tunings , non-harmonic tunings (helmholtz 1885, 514–27). ellis studied tunings of non-western cultures and, in report royal society, stated did not use either equal divisions of octave or intonation intervals (ellis 1884). ellis inspired harry partch immensely (partch 1979, vii).

during exposition universelle of 1889, claude debussy heard balinese gamelan performance , exposed non-western tunings , rhythms. scholars have ascribed debussy s subsequent innovative use of whole-tone (six equal pitches per octave) tuning in such compositions fantaisie piano , orchestra , toccata suite pour le piano exposure balinese gamelan @ paris exposition (lesure 2001), , have asserted rebellion @ time against rule of equal temperament , gamelan gave him confidence embark (after 1900 world exhibition) on characteristic mature piano works, many bell- , gong-like sonorities , brilliant exploitation of piano’s natural resonance (howat 2001). still others have argued debussy s works l isle joyeuse, la cathédrale engloutie, prélude à l après-midi d un faune, la mer, pagodes, danseuses de delphes, , cloches à travers les feuilles marked more basic interest in microtonal intervals found between higher members of overtone series, under influence of helmholtz s writings (don 1991, 69 et passim). emil berliner s introduction of phonograph in 1890s allowed non-western music recorded , heard western composers, further spurring use of non-12-equal tunings.

major microtonal composers of 1920s , 1930s include alois hába (quarter tones, or 24 equal pitches per octave, , sixth tones), julián carrillo (24 equal, 36, 48, 60, 72, , 96 equal pitches octave embodied in series of specially custom-built pianos), ivan wyschnegradsky (third tones, quarter tones, sixth tones , twelfth tones, non octaving scales) , works of harry partch (just intonation using frequencies @ ratios of prime integers 3, 5, 7, , 11, powers, , products of numbers, central frequency of g-196) (partch 1979, chapt. 8, application of 11 limit , 119–37).

prominent microtonal composers or researchers of 1940s , 1950s include adriaan daniel fokker (31 equal tones per octave), partch (continuing build handcrafted orchestra of microtonal intonation instruments), , eivind groven.

digital synthesizers yamaha tx81z (1987) on , inexpensive software synthesizers have contributed ease , popularity of exploring microtonal music.