Whynotmicrotonality

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=Why NOT Microtonality: The Trials and Tribulations of My Xenharmonic Life= 

My name is Igliashon Jones, and I am a microtonalist. I have been in recovery since the 11th of December, 2012. I would like to think of myself as simply "a musician" and not "a microtonalist", but microtonality (like any addiction) is not something you can actually quit. I've done everything I can think to try to quit it--taking down all my microtonal music from the web, editing my name out of this wiki, quitting the online forums at Facebook and Yahoo, selling my microtonal instruments, deleting all my writings and theory documents off my computer, even writing lots of really angry anti-microtonal rants and burning bridges with people I once considered colleagues. But it's still with me, and it probably always will be. 7 years of obsessive study will do that to a person. At this point, all I can legitimately hope for is to control the damage it's done to my music-making, and maybe in the long run microtonal theory will just be absorbed back into the larger context of music-making.

//Wait, what? What do you mean, "the damage it's done to your music-making"? I thought microtonality was supposed to be a liberation from the confines of 12-TET, and thus an incredible boon to the creative process?//

I thought so, too. And maybe it can be, but what is important to acknowledge--and seldom discussed within the community--is that it can actually be detrimental to music-making, at least if you make the same mistakes I did. So, in the interest of sparing others the same tribulations I went through, I'm going to list the mistakes I made that ultimately led me to a creative crisis and emotional melt-down, and caused me to wish I'd never heard the word "microtonal" in my life.

==Mistake #1: Trying to De-Twelvulate My Hearing== 

I've seen at least a few people make the distinct claim that strange new tunings require a period of adjustment before they start to sound "natural". While I did find it to be the case that the sound of new tunings can become less bothersome with repeated exposure, no amount of immersion in microtonal tunings ever "cured me" of my 12-TET perceptual categories. No matter how foreign the harmonies or how unlike the diatonic scale, no amount of time ever got me to stop hearing things as just variations on the musical categories I grew up with. It was a constant and futile struggle on my part to keep these 12-TET categories from informing my music, but I was desperately committed to it. For at least two solid years, I played and composed only microtonal music--I didn't dare write or play in 12-TET, for fear it would forever prevent me from realizing my full xenharmonic potential.

The only problem was, any time I succeeded in making music that sounded extremely unlike 12-TET--for instance, using a bunch of quarter-tones in a melody, or playing big near-Just otonal chords--I hated it. My favorite microtonal music, both among my own compositions and those of others, was always the stuff that sounded more or less like something that could be pulled off in 12. When I realized that, I was pretty much forced to admit to myself that I was a hypocrite, and that I was also a complete fool to try to constantly thwart my own taste through my own compositions (and an even bigger fool for being mad at myself for failing at that!).

==Mistake #2: Not Knowing What I Wanted From Alternative Tunings== 

The world of tuning theory is riddled with dogma and proselytization, as well as various conflicting ideologies that are constantly vying for attention. Neophytes like I once was are easily taken in. This is a shame, because people--including myself--can be taken in before they have a chance to figure anything out for themselves, and can end up wasting //years// learning about things that are completely irrelevant to their approach to music-making. Much discussion is devoted to making various tuning theories more accessible, but little discussion is devoted to figuring out when theories are and are not relevant in the process of making actual music, or what kinds of music for which they might be relevant at all. This leads many new-comers to the field to be overwhelmed, or to feel the need to learn mountains of esoteric theory just to participate in the discussion. It is quite easy for music-making to go by the way-side during this learning process.

Case in point: I was taken in by a lot of theoretical ideas that proved not to be relevant or useful, simply because I made little to no attempt in the beginning to critically assess whether these ideas were useful enough to me to be worth learning. I entered the tuning world as a //tabula rasa,// when what I should have done was figured out first and foremost what it was in 12-TET that I was and was not satisfied with, and what I hoped to get out of alternative tunings in the first place. Perhaps this was an impossible mistake to avoid at the time; this wiki did not exist, and the community was much smaller and much less diverse (with considerably fewer practicing musicians in it, and particularly fewer rock guitarists like myself), so who could even tell me what possibilities were engendered by alternative tunings? Nevertheless, if I had had clearer goals in mind and the ability to critically asses the relevance of various theories to my personal musical goals, I could have narrowed the field of potential tunings by a good bit, and saved myself a lot of fruitless floundering.

==Mistake #3: Unhealthily Obsessing Over Microtonality== 

Did I mention I lived and breathed microtonality nearly every day for the better part of 7 years? Well, I did. I spent 95% of my free time either online in the forums or writing music. I just could NOT turn it off. Worse, I used it to build a wall between myself and the "regular" music world. I even turned down some great musical opportunities because they would have required me to play guitar in 12-TET! I was so committed to "the movement" that I lost sight of what mattered, which is making music.

Another problem with this obsession was that I stopped filtering my interactions. I wanted to spend as much time as possible participating in discussion, which pushed me to weigh in on matters about which I was uninformed and in which I was actually disinterested. I don't actually care a whit about psychoacoustics, music cognition, mathematics, or acoustic physics, let alone any of the more specialized and esoteric terminology and theoretical constructs unique to microtonal theory...but that never stopped me from swaggering into discussions about them, taking sides, and even getting worked up enough to actually get angry with people over disputes. At my worst, I'd take any flame-bait laid before me, even if it was completely unrelated to music, and boy-howdy would I burn for it! Many enemies have I made because of this, and I very definitely did not make the community a better place with my behavior. What I should have done was carve out a little niche for myself and stayed in it; the one thing I was actually good at, knowledgeable about, and legitimately interested in was playing xenharmonic guitar, and I should have just stuck with that. It would have saved a lot of strife both for myself and for my colleagues.

==Mistake #4: Treating Music as Theoretical Exposition Rather than Artistic Expression== 

When I write in 12-TET, I feel a profound sense of artistic responsibility to write music that comes from a deep emotional place, expresses something worthwhile about my experience, and uses melody, harmony, rhythm, and sound design in compelling and innovative ways. When I was writing exclusively-microtonal music, for some reason I didn't feel that same artistic responsibility. Instead, I felt a responsibility to utilize and demonstrate various theoretical ideas (which are in limitless supply for the microtonalist), and I tended to only make token gestures toward my usual quality standards. And it only got worse over time.

The problem was a sort of "grass is always greener" mindset: I could never stick with one tuning for very long, because there was always another shiny new tuning around the corner whispering promises of theoretical superiority in some new aspect. Because I always chose tunings based on theoretical considerations alone, inevitably those theoretical considerations came to dominate my compositional focus. And if I //didn't// make the theory come through clear enough in the composition--if it was too artistically "free", for example--I considered it a failure, rather than a success.
Thus, my microtonal corpus consists almost entirely of brief forays into a plethora of different tunings, each one focused on some particular scale or form of harmony or some other abstract theoretical principle. Which is precisely why I've felt the need to disown my microtonal corpus, or at least distance myself from it. Regardless of what anyone may think of it, to me it is not art. It is not an expression of my self.

==Mistake #5: Hating on 12-TET== 

12-TET-bashing used to be a lot more common in the community than it seems to be these days, which is an encouraging sign, but for a long time I was as vehement an anti-12 crusader as anyone. I used to decry 12-TET as being hackneyed, cliched, boring, stifling, washed-up, limiting, and superficial. That was stupid. 12-TET is an excellent tuning, and all the microtonal theory more or less agrees. For some people it may not be the //best//, and there are probably arguments to be made that it should share some space with a few other good tunings. But for me, it really is the holy grail. It's easy to navigate because it divides into more equal parts than any other ET less than double its size--12 has factors of 2, 3, 4, and 6. The fact that it also has very acceptable 5-limit harmony and can at least imply 7- and 9-limit harmony (to say nothing of its good representations of ratios of 15, 17, and 19, which add to its harmonic versatility) is extremely remarkable, bordering on miraculous. It also supports more of the best 5-limit temperaments than its nearest competitors of 15, 19, and 22: meantone, schismatic, srutal, injera, diminished, augmented, ripple, and passion. It's incredible, truly incredible, that such a simple equal temperament could be so good.

As you can see, my study of microtonality has taken me all the way out the other side, and actually deepened my appreciation for 12-TET, rather than diminishing it.

Now that I'm comfortable admitting all the great things about 12-TET, it's given me a completely new perspective on microtonality. No other tuning is going to "beat 12-TET at its own game", and if I want a tuning that does everything I like about 12-TET, then 12-TET is the only tuning worth bothering with. That's fine. For general-purpose music making, I think 12-TET does the best job at serving the greatest number of people in the greatest number of ways. Now that that's been established, it is possible to look in earnest at what alternative tunings actually have to offer that might be appealing, rather than searching hopelessly for something that's "better" than 12-TET and will spark a world-wide tuning revolution.

==Mistake #6: Not Sticking With One Tuning== 

This ties in a bit with all of the previous mistakes, and is more or less a result of them. Really, I never wanted microtonality to be a vast new universe of infinite possibilities. I wanted something different, but just //one// different thing that would fit me like a glove. Unfortunately I never found a concrete way of formalizing or quantifying what I wanted, so I never figured out what the "best" tuning for my needs would be. What I ended up doing was hopping from tuning to tuning, eventually evolving an "every tuning is good for something!" world-view that made commitment essentially impossible. What I //should// have done is just picked one and stuck to it. I don't think it really even matters which one anymore. 31edo, 22edo, 17edo, 19edo, 16edo, 15edo, 10edo...whatever. Just sticking with one, diving deep, really internalizing its structure, naturalizing the language of its notation, becoming fluid and fluent with it, that's something I never really did. That's something very few people do in this community, and it is reflected in the quality of the music and the near-complete absence of any practice-centered music theory. I think it's possible that if I could just stick with one--just pick one, and build my life's work on it--mistakes #1-5 would cease to be problematic for me.

So I encourage anyone reading this: don't get lost in the hype over various tunings. Come up with a comfortable size-range for yourself, decide how close to JI you care to get, and pick any tuning in your size range that gets you as close as you want to JI...and stick to it! Become an expert in it, catalog its strengths and test its weaknesses, compose a huge repertoire for it, establish some conventions in it, collaborate with others on it. Mine it for everything it's worth! This, I now believe, will be vastly more rewarding over the long haul than flitting from tuning to tuning indefinitely.

==Epilogue== 

When I first made this page, it was a tirade against microtonality, an attempt to warn people away from it and debunk all claims made in its favor. I've since come to take a more tempered perspective on the matter (no pun intended?), though I still believe that microtonality is a tricky pursuit that will not universally serve all musicians (or even a majority of them). I no longer think of it as hopeless and foolish, but I still think it is quite shrouded in rhetoric and falsehoods. However, I think I am at last getting close to figuring out what I want from it and how to get it, as well as what I can offer the community and what I can't. But time will tell, and the jury (as of this writing) is still out.

=See also= 
[[Why micotonality]], [[Whynotnotmicrotonality]]

Original HTML content:

<html><head><title>whynotmicrotonality</title></head><body><!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Why NOT Microtonality: The Trials and Tribulations of My Xenharmonic Life"></a><!-- ws:end:WikiTextHeadingRule:0 -->Why NOT Microtonality: The Trials and Tribulations of My Xenharmonic Life</h1>
 <br />
My name is Igliashon Jones, and I am a microtonalist. I have been in recovery since the 11th of December, 2012. I would like to think of myself as simply &quot;a musician&quot; and not &quot;a microtonalist&quot;, but microtonality (like any addiction) is not something you can actually quit. I've done everything I can think to try to quit it--taking down all my microtonal music from the web, editing my name out of this wiki, quitting the online forums at Facebook and Yahoo, selling my microtonal instruments, deleting all my writings and theory documents off my computer, even writing lots of really angry anti-microtonal rants and burning bridges with people I once considered colleagues. But it's still with me, and it probably always will be. 7 years of obsessive study will do that to a person. At this point, all I can legitimately hope for is to control the damage it's done to my music-making, and maybe in the long run microtonal theory will just be absorbed back into the larger context of music-making.<br />
<br />
<em>Wait, what? What do you mean, &quot;the damage it's done to your music-making&quot;? I thought microtonality was supposed to be a liberation from the confines of 12-TET, and thus an incredible boon to the creative process?</em><br />
<br />
I thought so, too. And maybe it can be, but what is important to acknowledge--and seldom discussed within the community--is that it can actually be detrimental to music-making, at least if you make the same mistakes I did. So, in the interest of sparing others the same tribulations I went through, I'm going to list the mistakes I made that ultimately led me to a creative crisis and emotional melt-down, and caused me to wish I'd never heard the word &quot;microtonal&quot; in my life.<br />
<br />
<!-- ws:start:WikiTextHeadingRule:2:&lt;h2&gt; --><h2 id="toc1"><a name="Why NOT Microtonality: The Trials and Tribulations of My Xenharmonic Life-Mistake #1: Trying to De-Twelvulate My Hearing"></a><!-- ws:end:WikiTextHeadingRule:2 -->Mistake #1: Trying to De-Twelvulate My Hearing</h2>
 <br />
I've seen at least a few people make the distinct claim that strange new tunings require a period of adjustment before they start to sound &quot;natural&quot;. While I did find it to be the case that the sound of new tunings can become less bothersome with repeated exposure, no amount of immersion in microtonal tunings ever &quot;cured me&quot; of my 12-TET perceptual categories. No matter how foreign the harmonies or how unlike the diatonic scale, no amount of time ever got me to stop hearing things as just variations on the musical categories I grew up with. It was a constant and futile struggle on my part to keep these 12-TET categories from informing my music, but I was desperately committed to it. For at least two solid years, I played and composed only microtonal music--I didn't dare write or play in 12-TET, for fear it would forever prevent me from realizing my full xenharmonic potential.<br />
<br />
The only problem was, any time I succeeded in making music that sounded extremely unlike 12-TET--for instance, using a bunch of quarter-tones in a melody, or playing big near-Just otonal chords--I hated it. My favorite microtonal music, both among my own compositions and those of others, was always the stuff that sounded more or less like something that could be pulled off in 12. When I realized that, I was pretty much forced to admit to myself that I was a hypocrite, and that I was also a complete fool to try to constantly thwart my own taste through my own compositions (and an even bigger fool for being mad at myself for failing at that!).<br />
<br />
<!-- ws:start:WikiTextHeadingRule:4:&lt;h2&gt; --><h2 id="toc2"><a name="Why NOT Microtonality: The Trials and Tribulations of My Xenharmonic Life-Mistake #2: Not Knowing What I Wanted From Alternative Tunings"></a><!-- ws:end:WikiTextHeadingRule:4 -->Mistake #2: Not Knowing What I Wanted From Alternative Tunings</h2>
 <br />
The world of tuning theory is riddled with dogma and proselytization, as well as various conflicting ideologies that are constantly vying for attention. Neophytes like I once was are easily taken in. This is a shame, because people--including myself--can be taken in before they have a chance to figure anything out for themselves, and can end up wasting <em>years</em> learning about things that are completely irrelevant to their approach to music-making. Much discussion is devoted to making various tuning theories more accessible, but little discussion is devoted to figuring out when theories are and are not relevant in the process of making actual music, or what kinds of music for which they might be relevant at all. This leads many new-comers to the field to be overwhelmed, or to feel the need to learn mountains of esoteric theory just to participate in the discussion. It is quite easy for music-making to go by the way-side during this learning process.<br />
<br />
Case in point: I was taken in by a lot of theoretical ideas that proved not to be relevant or useful, simply because I made little to no attempt in the beginning to critically assess whether these ideas were useful enough to me to be worth learning. I entered the tuning world as a <em>tabula rasa,</em> when what I should have done was figured out first and foremost what it was in 12-TET that I was and was not satisfied with, and what I hoped to get out of alternative tunings in the first place. Perhaps this was an impossible mistake to avoid at the time; this wiki did not exist, and the community was much smaller and much less diverse (with considerably fewer practicing musicians in it, and particularly fewer rock guitarists like myself), so who could even tell me what possibilities were engendered by alternative tunings? Nevertheless, if I had had clearer goals in mind and the ability to critically asses the relevance of various theories to my personal musical goals, I could have narrowed the field of potential tunings by a good bit, and saved myself a lot of fruitless floundering.<br />
<br />
<!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="Why NOT Microtonality: The Trials and Tribulations of My Xenharmonic Life-Mistake #3: Unhealthily Obsessing Over Microtonality"></a><!-- ws:end:WikiTextHeadingRule:6 -->Mistake #3: Unhealthily Obsessing Over Microtonality</h2>
 <br />
Did I mention I lived and breathed microtonality nearly every day for the better part of 7 years? Well, I did. I spent 95% of my free time either online in the forums or writing music. I just could NOT turn it off. Worse, I used it to build a wall between myself and the &quot;regular&quot; music world. I even turned down some great musical opportunities because they would have required me to play guitar in 12-TET! I was so committed to &quot;the movement&quot; that I lost sight of what mattered, which is making music.<br />
<br />
Another problem with this obsession was that I stopped filtering my interactions. I wanted to spend as much time as possible participating in discussion, which pushed me to weigh in on matters about which I was uninformed and in which I was actually disinterested. I don't actually care a whit about psychoacoustics, music cognition, mathematics, or acoustic physics, let alone any of the more specialized and esoteric terminology and theoretical constructs unique to microtonal theory...but that never stopped me from swaggering into discussions about them, taking sides, and even getting worked up enough to actually get angry with people over disputes. At my worst, I'd take any flame-bait laid before me, even if it was completely unrelated to music, and boy-howdy would I burn for it! Many enemies have I made because of this, and I very definitely did not make the community a better place with my behavior. What I should have done was carve out a little niche for myself and stayed in it; the one thing I was actually good at, knowledgeable about, and legitimately interested in was playing xenharmonic guitar, and I should have just stuck with that. It would have saved a lot of strife both for myself and for my colleagues.<br />
<br />
<!-- ws:start:WikiTextHeadingRule:8:&lt;h2&gt; --><h2 id="toc4"><a name="Why NOT Microtonality: The Trials and Tribulations of My Xenharmonic Life-Mistake #4: Treating Music as Theoretical Exposition Rather than Artistic Expression"></a><!-- ws:end:WikiTextHeadingRule:8 -->Mistake #4: Treating Music as Theoretical Exposition Rather than Artistic Expression</h2>
 <br />
When I write in 12-TET, I feel a profound sense of artistic responsibility to write music that comes from a deep emotional place, expresses something worthwhile about my experience, and uses melody, harmony, rhythm, and sound design in compelling and innovative ways. When I was writing exclusively-microtonal music, for some reason I didn't feel that same artistic responsibility. Instead, I felt a responsibility to utilize and demonstrate various theoretical ideas (which are in limitless supply for the microtonalist), and I tended to only make token gestures toward my usual quality standards. And it only got worse over time.<br />
<br />
The problem was a sort of &quot;grass is always greener&quot; mindset: I could never stick with one tuning for very long, because there was always another shiny new tuning around the corner whispering promises of theoretical superiority in some new aspect. Because I always chose tunings based on theoretical considerations alone, inevitably those theoretical considerations came to dominate my compositional focus. And if I <em>didn't</em> make the theory come through clear enough in the composition--if it was too artistically &quot;free&quot;, for example--I considered it a failure, rather than a success.<br />
Thus, my microtonal corpus consists almost entirely of brief forays into a plethora of different tunings, each one focused on some particular scale or form of harmony or some other abstract theoretical principle. Which is precisely why I've felt the need to disown my microtonal corpus, or at least distance myself from it. Regardless of what anyone may think of it, to me it is not art. It is not an expression of my self.<br />
<br />
<!-- ws:start:WikiTextHeadingRule:10:&lt;h2&gt; --><h2 id="toc5"><a name="Why NOT Microtonality: The Trials and Tribulations of My Xenharmonic Life-Mistake #5: Hating on 12-TET"></a><!-- ws:end:WikiTextHeadingRule:10 -->Mistake #5: Hating on 12-TET</h2>
 <br />
12-TET-bashing used to be a lot more common in the community than it seems to be these days, which is an encouraging sign, but for a long time I was as vehement an anti-12 crusader as anyone. I used to decry 12-TET as being hackneyed, cliched, boring, stifling, washed-up, limiting, and superficial. That was stupid. 12-TET is an excellent tuning, and all the microtonal theory more or less agrees. For some people it may not be the <em>best</em>, and there are probably arguments to be made that it should share some space with a few other good tunings. But for me, it really is the holy grail. It's easy to navigate because it divides into more equal parts than any other ET less than double its size--12 has factors of 2, 3, 4, and 6. The fact that it also has very acceptable 5-limit harmony and can at least imply 7- and 9-limit harmony (to say nothing of its good representations of ratios of 15, 17, and 19, which add to its harmonic versatility) is extremely remarkable, bordering on miraculous. It also supports more of the best 5-limit temperaments than its nearest competitors of 15, 19, and 22: meantone, schismatic, srutal, injera, diminished, augmented, ripple, and passion. It's incredible, truly incredible, that such a simple equal temperament could be so good.<br />
<br />
As you can see, my study of microtonality has taken me all the way out the other side, and actually deepened my appreciation for 12-TET, rather than diminishing it.<br />
<br />
Now that I'm comfortable admitting all the great things about 12-TET, it's given me a completely new perspective on microtonality. No other tuning is going to &quot;beat 12-TET at its own game&quot;, and if I want a tuning that does everything I like about 12-TET, then 12-TET is the only tuning worth bothering with. That's fine. For general-purpose music making, I think 12-TET does the best job at serving the greatest number of people in the greatest number of ways. Now that that's been established, it is possible to look in earnest at what alternative tunings actually have to offer that might be appealing, rather than searching hopelessly for something that's &quot;better&quot; than 12-TET and will spark a world-wide tuning revolution.<br />
<br />
<!-- ws:start:WikiTextHeadingRule:12:&lt;h2&gt; --><h2 id="toc6"><a name="Why NOT Microtonality: The Trials and Tribulations of My Xenharmonic Life-Mistake #6: Not Sticking With One Tuning"></a><!-- ws:end:WikiTextHeadingRule:12 -->Mistake #6: Not Sticking With One Tuning</h2>
 <br />
This ties in a bit with all of the previous mistakes, and is more or less a result of them. Really, I never wanted microtonality to be a vast new universe of infinite possibilities. I wanted something different, but just <em>one</em> different thing that would fit me like a glove. Unfortunately I never found a concrete way of formalizing or quantifying what I wanted, so I never figured out what the &quot;best&quot; tuning for my needs would be. What I ended up doing was hopping from tuning to tuning, eventually evolving an &quot;every tuning is good for something!&quot; world-view that made commitment essentially impossible. What I <em>should</em> have done is just picked one and stuck to it. I don't think it really even matters which one anymore. 31edo, 22edo, 17edo, 19edo, 16edo, 15edo, 10edo...whatever. Just sticking with one, diving deep, really internalizing its structure, naturalizing the language of its notation, becoming fluid and fluent with it, that's something I never really did. That's something very few people do in this community, and it is reflected in the quality of the music and the near-complete absence of any practice-centered music theory. I think it's possible that if I could just stick with one--just pick one, and build my life's work on it--mistakes #1-5 would cease to be problematic for me.<br />
<br />
So I encourage anyone reading this: don't get lost in the hype over various tunings. Come up with a comfortable size-range for yourself, decide how close to JI you care to get, and pick any tuning in your size range that gets you as close as you want to JI...and stick to it! Become an expert in it, catalog its strengths and test its weaknesses, compose a huge repertoire for it, establish some conventions in it, collaborate with others on it. Mine it for everything it's worth! This, I now believe, will be vastly more rewarding over the long haul than flitting from tuning to tuning indefinitely.<br />
<br />
<!-- ws:start:WikiTextHeadingRule:14:&lt;h2&gt; --><h2 id="toc7"><a name="Why NOT Microtonality: The Trials and Tribulations of My Xenharmonic Life-Epilogue"></a><!-- ws:end:WikiTextHeadingRule:14 -->Epilogue</h2>
 <br />
When I first made this page, it was a tirade against microtonality, an attempt to warn people away from it and debunk all claims made in its favor. I've since come to take a more tempered perspective on the matter (no pun intended?), though I still believe that microtonality is a tricky pursuit that will not universally serve all musicians (or even a majority of them). I no longer think of it as hopeless and foolish, but I still think it is quite shrouded in rhetoric and falsehoods. However, I think I am at last getting close to figuring out what I want from it and how to get it, as well as what I can offer the community and what I can't. But time will tell, and the jury (as of this writing) is still out.<br />
<br />
<!-- ws:start:WikiTextHeadingRule:16:&lt;h1&gt; --><h1 id="toc8"><a name="See also"></a><!-- ws:end:WikiTextHeadingRule:16 -->See also</h1>
 <a class="wiki_link" href="/Why%20micotonality">Why micotonality</a>, <a class="wiki_link" href="/Whynotnotmicrotonality">Whynotnotmicrotonality</a></body></html>