History and philosophy of xenharmonic music: Difference between revisions

Line 14:

=== Setting the Stage ===

~~The xenharmonic movement did not emerge in isolation, and like~~ all such movements ~~its origin rests~~ upon a convergence of trends in society. Three major forces laid this foundation: the codification of 12-EDO as the default tuning system, and the awareness of just intonation and other historical and world musics which provided a counterpoint to it; the broad shift in the 20th-century musical climate that embraced experimentation and broke from tonal tradition; and the rise of accessible technologies that empowered musicians to build instruments, design and experiment with tuning systems, and form decentralized networks.

Like all such movements, the origins of xenharmonic music rest upon a convergence of trends in society. Three major forces laid this foundation: the codification of 12-EDO as the default tuning system, and the awareness of just intonation and other historical and world musics which provided a counterpoint to it; the broad shift in the 20th-century musical climate that embraced experimentation and broke from tonal tradition; and the rise of accessible technologies that empowered musicians to build instruments, design and experiment with tuning systems, and form decentralized networks.

By the early 20th century, 12-tone equal temperament had become the standard tuning system across Western music, embedded in instruments, notation, and education. It was often treated as a universal framework, leaving little room for alternatives. In response, musicians and theorists began revisiting just intonation, supported by advances in acoustics and a renewed interest in the harmonic series. Historical temperaments and global tuning systems further challenged the assumption of 12-EDO's inevitability. This development was probably the most important conceptual foundation for the emergence of xenharmonic music, because without such a standard, how can a movement predicated on the rejection of it exist at all?

@@ Line 14: / Line 14: @@
 === Setting the Stage ===
-The xenharmonic movement did not emerge in isolation, and like all such movements its origin rests upon a convergence of trends in society. Three major forces laid this foundation: the codification of 12-EDO as the default tuning system, and the awareness of just intonation and other historical and world musics which provided a counterpoint to it; the broad shift in the 20th-century musical climate that embraced experimentation and broke from tonal tradition; and the rise of accessible technologies that empowered musicians to build instruments, design and experiment with tuning systems, and form decentralized networks.
+Like all such movements, the origins of xenharmonic music rest upon a convergence of trends in society. Three major forces laid this foundation: the codification of 12-EDO as the default tuning system, and the awareness of just intonation and other historical and world musics which provided a counterpoint to it; the broad shift in the 20th-century musical climate that embraced experimentation and broke from tonal tradition; and the rise of accessible technologies that empowered musicians to build instruments, design and experiment with tuning systems, and form decentralized networks.
 By the early 20th century, 12-tone equal temperament had become the standard tuning system across Western music, embedded in instruments, notation, and education. It was often treated as a universal framework, leaving little room for alternatives. In response, musicians and theorists began revisiting just intonation, supported by advances in acoustics and a renewed interest in the harmonic series. Historical temperaments and global tuning systems further challenged the assumption of 12-EDO's inevitability. This development was probably the most important conceptual foundation for the emergence of xenharmonic music, because without such a standard, how can a movement predicated on the rejection of it exist at all?