History and philosophy of xenharmonic music: Difference between revisions
→The Path to Xenharmonics: From the Hegemony of 12-EDO to the Xenharmonic Music Alliance: made "12-EDO" consistent form after first instance of "12-equal divisions of the octave" |
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=== Introduction === | === Introduction === | ||
Xenharmonic music is commonly defined as music composed outside the bounds of 12-equal divisions of the octave—the standard tuning system in Western music, and increasingly, across much of the world. While this definition is broadly accurate and useful as a starting point, it also invites a number of important questions. For instance: do historical temperaments qualify as xenharmonic? What about the diverse intonational practices found in folk and traditional musics around the world? Does the prefix ''xen-'' (meaning "foreign" or "strange") suggest that once a xenharmonic system becomes familiar, it ceases to be xenharmonic? And if so, under what circumstances—if any—might 12-EDO itself be considered xenharmonic? | Xenharmonic music is commonly defined as music composed outside the bounds of 12-equal divisions of the octave—the standard tuning system in Western music, and increasingly, across much of the world. While this definition is broadly accurate and useful as a starting point, it also invites a number of important questions. For instance: do historical temperaments qualify as xenharmonic? What about the diverse intonational practices found in folk and traditional musics around the world? Does the prefix ''xen-'' (meaning "foreign" or "strange") suggest that once a xenharmonic system becomes familiar, it ceases to be xenharmonic? Is any music that sounds strange Xenharmonic? And if so, under what circumstances—if any—might 12-EDO itself be considered xenharmonic? | ||
These are reasonable and thoughtful questions, but they often stem from a misunderstanding that arises through no fault of the inquirer. While it is commonly and intuitively understood that xenharmonic music involves exploring systems beyond 12-EDO—such as just intonation lattices, equal divisions of the octave, and novel temperaments—the underlying thread that historically and conceptually unites these approaches under the term ''xenharmonic'' is rarely articulated with clarity. | These are reasonable and thoughtful questions, but they often stem from a misunderstanding that arises through no fault of the inquirer. While it is commonly and intuitively understood that xenharmonic music involves exploring systems beyond 12-EDO—such as just intonation lattices, equal divisions of the octave, and novel temperaments—the underlying thread that historically and conceptually unites these approaches under the term ''xenharmonic'' is rarely articulated with clarity. | ||