DefineMicrotonal: Difference between revisions

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<h2>IMPORTED REVISION FROM WIKISPACES</h2>

This is an imported revision from Wikispaces. The revision metadata is included below for reference:

: This revision was by author [[User:guest|guest]] and made on <tt>2006-10-26 00:19:46 UTC</tt>.

: This revision was by author [[User:guest|guest]] and made on <tt>2006-10-26 00:36:32 UTC</tt>.

: The original revision id was <tt>~~1557469~~</tt>.

: The original revision id was <tt>1557559</tt>.

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Line 25:

"These well temperaments are what we might call paper tunings: fine in theory, but in practice indistinguishable from the modern twelve tone equal temperament." -- J. Murray Barbour

By holding each of these definitions in our hand and turning it over in the light, we can see each separate facet of what makes music microtonal. The first definition, by Johnny Reinhard, seems as first glance entirely inadequate, since it does not define. A definition must eo ipso separate what is defined from what is not, and so Reinhard's description of microtonality would superficially appear useless. If all music is microtonal, then microtonal music has no distinguishing features. But if we look closer, we catch sight of a deeper meaning in Reinhard's gnostic oxymoron. What Johnny is probably getting at is the fact that while all music adheres in theory to a rigid set of restricted pitches, in actual practice real musicians in the real world typically bend these pitches for expressive purposes. A fine example can be found in Sinead O'Connor's song "Nothing Compares 2 U," in which she unmistakably intones melodic intervals much smaller than a semitone. This adds great plangency and pathos to the music, and she is obviously not signing in the conventional Western tuning. Or again, consider the Javanese gamelan. One gamelan is likely to use narrower pitches where another gamelan uses wider ones -- yet both gamelans ostensibly use the same tuning. Once again, we have an example in which pitch is warped for expressive purposes, yet not recognized on paper as doing so.

By holding each of these definitions in our hand and turning it over in the light, we can see each separate facet of what makes music microtonal. The first definition, by Johnny Reinhard, seems as first glance entirely inadequate, since it does not define. A definition must eo ipso separate what is defined from what is not, and so Reinhard's description of microtonality would superficially appear useless. If all music is microtonal, then microtonal music has no distinguishing features. But if we look closer, we catch sight of a deeper meaning in Reinhard's gnostic oxymoron. What Johnny is probably getting at is the fact that while all music adheres in theory to a rigid set of restricted pitches, in actual practice real musicians in the real world typically bend these pitches for expressive purposes. A fine example can be found in Sinead O'Connor's song "Nothing Compares 2 U," in which she unmistakably intones melodic intervals much smaller than a semitone. This adds great plangency and pathos to the music, and she is obviously not signing in the conventional Western tuning. Or again, consider the Javanese gamelan. One gamelan is likely to use narrower pitches where another gamelan uses wider ones -- yet both gamelans ostensibly use the same tuning. Once again, we have an example in which pitch is warped for expressive purposes, yet not recognized on paper as doing so. This reminds to avoid the error of scriptism: i.e., concentrating on how music is notated, rather than how it sounds.

Ivor Darreg's definition of microtonality seems peculiar inasmuch as he seems to posit a tuning whose smallest intervals are larger than the conventional western semitone as "microtonal." How can anything larger than a semitone be called "micro"? What Ivor is getting at here, however, is that what is often called "microtonal" music in essence sounds different from conventional music. One of the best examples of this involves the 5 tone equal tuning, which sounds radically different from conventional western music. With a 720-cent perfect fifth and a step-size of 240 cents, nothing in this tuning sounds remotely akin to Western music. As a result, music in 5 equal creates a striking musical impression on listeners. The same proves true of music in 7 equal, 9 equal, 10 equal, and so on. By contrast, 5-limit just diatonic just intonation typically sounds no different from conventional western music, although its ratios theoretically have different values. LIkewise, meantone and especially well tempered tunings sound so slightly different from conventional western 12 equal tuning that most listeners simply cannot a difference. What Ivor is driving at is that it makes no sense to describe a tuning as "microtonal" if listeners cannot reliably hear a difference between that tuning and the conventional western tuning of 12 semitones per octave.

Line 51:

The important point about such music (tape music, extended performance techniques by the orchestra, etc.) is that retuning the individual random pitches even by large amounts (say, 50 cents) would make no difference to the overall effect of the music. In fact, many contemporary orchestral compositions which use extended performance techniques leave the specific choice of random pitches up to the performers, and as a result repeat performances of such compositions typically **//do//** exhibit large pitch variations. Regardless, the composition sounds the same -- and the reason is simple: because in such extended performance techniques, the individual pitches don't matter. What matters in such pieces is the ensemble effect, or, in tape music, the timbral effect. In genuine microtonality, however, the individual pitches matter a great deal.

The reason why such compositions (using extended performance techniques) sound the same even when played with greatly varying pitches in repeat performance is simple. Two performances of //Penderecki's Threnody for the Victims Of Hiroshima//, for instance, hardly sound any different...even though the individual pitches played by the orchestra are scarcely comparable. The overall effect is what matters in such music, not the individual pitches. ~~Most~~ tape music and musique concrete and ~~contemporary~~ music ~~making~~ use of glissing effects, ~~like~~ Iannis Xenakis' early orchestral pieces (//Metastasis, Eonta, Kraanerg//) or Penderecki's //Threnody For the Victims of Hiroshima//, make use of arbitrary pitch variations as a gestural or timbral effect rather than for their structural harmonic and melodic properties. Consequently, in many such compositions, the exact pitches are not even written down! Penderecki's score, for instance, merely uses thicker and thinner lines on an orchestral score to suggest general ranges of variation in pitch. This is clearly not microtonality because we are dealing here with glissandi or portamenti or other pitch variations used as gestures, rather than to produce audibly different harmonies and melodies which sound distinct from those of conventional Western music. Randomly-detuned pitches, especially those sounded in an orchestral ensemble, belong to an entirely realm of music -- the realm of aleatoric extended performance effects. Such gestural effects, while often musically valuable and useful, and often present in superb modern compositions, should not be confused with the specific structural use of non-Western harmonies and melodies as is found in, say, Ivor Darreg's //19-tone equal tempered prelude for guitar #1//, or Kraig Grady's //Farewell Ring// (which uses one of Erv Wilson's CPS JI tunings) or Bill Wesley's //Harmony 101//. Those latter compositions deploy a specific set of audibly non-Western pitches but nonetheless use relatively conventional harmonies and melodies. By contrast, Xenakis and Penderecki and tape composers like Pierre Henry and Tod Dockstader used non-western pitches as merely one among many audible effects in their arsenal of extended performance techniques to generate ensemble ~~effects~~ in the service of a larger esthetic. To put it bluntly, tape music and mass random orchestral tone clusters are not meant to be heard in the same structural way as a Bach chorale, and listeners cannot expect to apply conventional methods of ~~analystic~~ music theory to such compositions.

The reason why such compositions (using extended performance techniques) sound the same even when played with greatly varying pitches in repeat performance is simple. Two performances of Penderecki's //Threnody for the Victims Of Hiroshima//, for instance, hardly sound any different...even though the individual pitches played by the orchestra are scarcely comparable. The overall effect is what matters in such music, not the individual pitches. Much tape music and //musique concrete// and a fair amount ofcontemporary music makes use of glissing effects. For instance, Iannis Xenakis' early orchestral pieces (//Metastasis, Eonta, Kraanerg//) or Penderecki's //Threnody For the Victims of Hiroshima//, akk make use of arbitrary pitch variations as a gestural or timbral effect rather than for their structural harmonic and melodic properties. Consequently, in many such compositions, the exact pitches are not even written down! Penderecki's score, for instance, merely uses thicker and thinner lines on an orchestral score to suggest general ranges of variation in pitch. This is clearly not microtonality because we are dealing here with glissandi or portamenti or other pitch variations used as gestures, rather than to produce audibly different harmonies and melodies which sound distinct from those of conventional Western music. Randomly-detuned pitches, especially those sounded in an orchestral ensemble, belong to an entirely realm of music -- the realm of aleatoric extended performance effects. Such gestural effects, while often musically valuable and useful, and often present in superb modern compositions, should not be confused with the specific structural use of non-Western harmonies and melodies as is found in, say, Ivor Darreg's //19-tone equal tempered prelude for guitar #1//, or Kraig Grady's //Farewell Ring// (which uses one of Erv Wilson's CPS JI tunings) or Bill Wesley's //Harmony 101// or Kyle Gann's //Triskaidekaphilia (Tuning Study No.6)// or William Schottstaedt's //Colony V//. Those latter compositions deploy a specific set of audibly non-Western pitches but nonetheless use relatively conventional harmonies and melodies. By contrast, Xenakis and Penderecki and tape composers like Pierre Henry and Tod Dockstader used non-western pitches as merely one among many audible effects in their arsenal of extended performance techniques to generate ensemble musical gestures in the service of a larger esthetic. To put it bluntly, tape music and mass random orchestral tone clusters are not meant to be heard in the same structural way as a Bach chorale, and listeners cannot expect to apply conventional methods of analysis to music theory to such compositions.

Finally, this raises the crucial issue of musical style. Javanese gamelan music sounds audibly different from conventional Western music: is it microtonal? Most people would say "no," and the evidence is clear. In record stores we never find Javanese gamelan CDs in a section labeled "microtonal music." Instead, we typically find Javanese gamelan CDs in the "Non-Western" section.

Line 97:

&quot;These well temperaments are what we might call paper tunings: fine in theory, but in practice indistinguishable from the modern twelve tone equal temperament.&quot; -- J. Murray Barbour

By holding each of these definitions in our hand and turning it over in the light, we can see each separate facet of what makes music microtonal. The first definition, by Johnny Reinhard, seems as first glance entirely inadequate, since it does not define. A definition must eo ipso separate what is defined from what is not, and so Reinhard's description of microtonality would superficially appear useless. If all music is microtonal, then microtonal music has no distinguishing features. But if we look closer, we catch sight of a deeper meaning in Reinhard's gnostic oxymoron. What Johnny is probably getting at is the fact that while all music adheres in theory to a rigid set of restricted pitches, in actual practice real musicians in the real world typically bend these pitches for expressive purposes. A fine example can be found in Sinead O'Connor's song &quot;Nothing Compares 2 U,&quot; in which she unmistakably intones melodic intervals much smaller than a semitone. This adds great plangency and pathos to the music, and she is obviously not signing in the conventional Western tuning. Or again, consider the Javanese gamelan. One gamelan is likely to use narrower pitches where another gamelan uses wider ones -- yet both gamelans ostensibly use the same tuning. Once again, we have an example in which pitch is warped for expressive purposes, yet not recognized on paper as doing so.

By holding each of these definitions in our hand and turning it over in the light, we can see each separate facet of what makes music microtonal. The first definition, by Johnny Reinhard, seems as first glance entirely inadequate, since it does not define. A definition must eo ipso separate what is defined from what is not, and so Reinhard's description of microtonality would superficially appear useless. If all music is microtonal, then microtonal music has no distinguishing features. But if we look closer, we catch sight of a deeper meaning in Reinhard's gnostic oxymoron. What Johnny is probably getting at is the fact that while all music adheres in theory to a rigid set of restricted pitches, in actual practice real musicians in the real world typically bend these pitches for expressive purposes. A fine example can be found in Sinead O'Connor's song &quot;Nothing Compares 2 U,&quot; in which she unmistakably intones melodic intervals much smaller than a semitone. This adds great plangency and pathos to the music, and she is obviously not signing in the conventional Western tuning. Or again, consider the Javanese gamelan. One gamelan is likely to use narrower pitches where another gamelan uses wider ones -- yet both gamelans ostensibly use the same tuning. Once again, we have an example in which pitch is warped for expressive purposes, yet not recognized on paper as doing so. This reminds to avoid the error of scriptism: i.e., concentrating on how music is notated, rather than how it sounds.

Ivor Darreg's definition of microtonality seems peculiar inasmuch as he seems to posit a tuning whose smallest intervals are larger than the conventional western semitone as &quot;microtonal.&quot; How can anything larger than a semitone be called &quot;micro&quot;? What Ivor is getting at here, however, is that what is often called &quot;microtonal&quot; music in essence sounds different from conventional music. One of the best examples of this involves the 5 tone equal tuning, which sounds radically different from conventional western music. With a 720-cent perfect fifth and a step-size of 240 cents, nothing in this tuning sounds remotely akin to Western music. As a result, music in 5 equal creates a striking musical impression on listeners. The same proves true of music in 7 equal, 9 equal, 10 equal, and so on. By contrast, 5-limit just diatonic just intonation typically sounds no different from conventional western music, although its ratios theoretically have different values. LIkewise, meantone and especially well tempered tunings sound so slightly different from conventional western 12 equal tuning that most listeners simply cannot a difference. What Ivor is driving at is that it makes no sense to describe a tuning as &quot;microtonal&quot; if listeners cannot reliably hear a difference between that tuning and the conventional western tuning of 12 semitones per octave.

Line 123:

The important point about such music (tape music, extended performance techniques by the orchestra, etc.) is that retuning the individual random pitches even by large amounts (say, 50 cents) would make no difference to the overall effect of the music. In fact, many contemporary orchestral compositions which use extended performance techniques leave the specific choice of random pitches up to the performers, and as a result repeat performances of such compositions typically do exhibit large pitch variations. Regardless, the composition sounds the same -- and the reason is simple: because in such extended performance techniques, the individual pitches don't matter. What matters in such pieces is the ensemble effect, or, in tape music, the timbral effect. In genuine microtonality, however, the individual pitches matter a great deal.

The reason why such compositions (using extended performance techniques) sound the same even when played with greatly varying pitches in repeat performance is simple. Two performances of ~~Penderecki's~~ Threnody for the Victims Of Hiroshima, for instance, hardly sound any different...even though the individual pitches played by the orchestra are scarcely comparable. The overall effect is what matters in such music, not the individual pitches. ~~Most~~ tape music and musique concrete and ~~contemporary~~ music ~~making~~ use of glissing effects, ~~like~~ Iannis Xenakis' early orchestral pieces (Metastasis, Eonta, Kraanerg) or Penderecki's Threnody For the Victims of Hiroshima, make use of arbitrary pitch variations as a gestural or timbral effect rather than for their structural harmonic and melodic properties. Consequently, in many such compositions, the exact pitches are not even written down! Penderecki's score, for instance, merely uses thicker and thinner lines on an orchestral score to suggest general ranges of variation in pitch. This is clearly not microtonality because we are dealing here with glissandi or portamenti or other pitch variations used as gestures, rather than to produce audibly different harmonies and melodies which sound distinct from those of conventional Western music. Randomly-detuned pitches, especially those sounded in an orchestral ensemble, belong to an entirely realm of music -- the realm of aleatoric extended performance effects. Such gestural effects, while often musically valuable and useful, and often present in superb modern compositions, should not be confused with the specific structural use of non-Western harmonies and melodies as is found in, say, Ivor Darreg's 19-tone equal tempered prelude for guitar #1, or Kraig Grady's Farewell Ring (which uses one of Erv Wilson's CPS JI tunings) or Bill Wesley's Harmony 101. Those latter compositions deploy a specific set of audibly non-Western pitches but nonetheless use relatively conventional harmonies and melodies. By contrast, Xenakis and Penderecki and tape composers like Pierre Henry and Tod Dockstader used non-western pitches as merely one among many audible effects in their arsenal of extended performance techniques to generate ensemble ~~effects~~ in the service of a larger esthetic. To put it bluntly, tape music and mass random orchestral tone clusters are not meant to be heard in the same structural way as a Bach chorale, and listeners cannot expect to apply conventional methods of ~~analystic~~ music theory to such compositions.

The reason why such compositions (using extended performance techniques) sound the same even when played with greatly varying pitches in repeat performance is simple. Two performances of Penderecki's Threnody for the Victims Of Hiroshima, for instance, hardly sound any different...even though the individual pitches played by the orchestra are scarcely comparable. The overall effect is what matters in such music, not the individual pitches. Much tape music and musique concrete and a fair amount ofcontemporary music makes use of glissing effects. For instance, Iannis Xenakis' early orchestral pieces (Metastasis, Eonta, Kraanerg) or Penderecki's Threnody For the Victims of Hiroshima, akk make use of arbitrary pitch variations as a gestural or timbral effect rather than for their structural harmonic and melodic properties. Consequently, in many such compositions, the exact pitches are not even written down! Penderecki's score, for instance, merely uses thicker and thinner lines on an orchestral score to suggest general ranges of variation in pitch. This is clearly not microtonality because we are dealing here with glissandi or portamenti or other pitch variations used as gestures, rather than to produce audibly different harmonies and melodies which sound distinct from those of conventional Western music. Randomly-detuned pitches, especially those sounded in an orchestral ensemble, belong to an entirely realm of music -- the realm of aleatoric extended performance effects. Such gestural effects, while often musically valuable and useful, and often present in superb modern compositions, should not be confused with the specific structural use of non-Western harmonies and melodies as is found in, say, Ivor Darreg's 19-tone equal tempered prelude for guitar #1, or Kraig Grady's Farewell Ring (which uses one of Erv Wilson's CPS JI tunings) or Bill Wesley's Harmony 101 or Kyle Gann's Triskaidekaphilia (Tuning Study No.6) or William Schottstaedt's Colony V. Those latter compositions deploy a specific set of audibly non-Western pitches but nonetheless use relatively conventional harmonies and melodies. By contrast, Xenakis and Penderecki and tape composers like Pierre Henry and Tod Dockstader used non-western pitches as merely one among many audible effects in their arsenal of extended performance techniques to generate ensemble musical gestures in the service of a larger esthetic. To put it bluntly, tape music and mass random orchestral tone clusters are not meant to be heard in the same structural way as a Bach chorale, and listeners cannot expect to apply conventional methods of analysis to music theory to such compositions.

Finally, this raises the crucial issue of musical style. Javanese gamelan music sounds audibly different from conventional Western music: is it microtonal? Most people would say &quot;no,&quot; and the evidence is clear. In record stores we never find Javanese gamelan CDs in a section labeled &quot;microtonal music.&quot; Instead, we typically find Javanese gamelan CDs in the &quot;Non-Western&quot; section.

@@ Line 1: / Line 1: @@
 <h2>IMPORTED REVISION FROM WIKISPACES</h2>
 This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
-: This revision was by author [[User:guest|guest]] and made on <tt>2006-10-26 00:19:46 UTC</tt>.<br>
+: This revision was by author [[User:guest|guest]] and made on <tt>2006-10-26 00:36:32 UTC</tt>.<br>
-: The original revision id was <tt>1557469</tt>.<br>
+: The original revision id was <tt>1557559</tt>.<br>
 : The revision comment was: <tt></tt><br>
 The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
@@ Line 25: / Line 25: @@
 "These well temperaments are what we might call paper tunings: fine in theory, but in practice indistinguishable from the modern twelve tone equal temperament." -- J. Murray Barbour
-By holding each of these definitions in our hand and turning it over in the light, we can see each separate facet of what makes music microtonal. The first definition, by Johnny Reinhard, seems as first glance entirely inadequate, since it does not define. A definition must eo ipso separate what is defined from what is not, and so Reinhard's description of microtonality would superficially appear useless. If all music is microtonal, then microtonal music has no distinguishing features. But if we look closer, we catch sight of a deeper meaning in Reinhard's gnostic oxymoron. What Johnny is probably getting at is the fact that while all music adheres in theory to a rigid set of restricted pitches, in actual practice real musicians in the real world typically bend these pitches for expressive purposes. A fine example can be found in Sinead O'Connor's song "Nothing Compares 2 U," in which she unmistakably intones melodic intervals much smaller than a semitone. This adds great plangency and pathos to the music, and she is obviously not signing in the conventional Western tuning. Or again, consider the Javanese gamelan. One gamelan is likely to use narrower pitches where another gamelan uses wider ones -- yet both gamelans ostensibly use the same tuning. Once again, we have an example in which pitch is warped for expressive purposes, yet not recognized on paper as doing so.
+By holding each of these definitions in our hand and turning it over in the light, we can see each separate facet of what makes music microtonal. The first definition, by Johnny Reinhard, seems as first glance entirely inadequate, since it does not define. A definition must eo ipso separate what is defined from what is not, and so Reinhard's description of microtonality would superficially appear useless. If all music is microtonal, then microtonal music has no distinguishing features. But if we look closer, we catch sight of a deeper meaning in Reinhard's gnostic oxymoron. What Johnny is probably getting at is the fact that while all music adheres in theory to a rigid set of restricted pitches, in actual practice real musicians in the real world typically bend these pitches for expressive purposes. A fine example can be found in Sinead O'Connor's song "Nothing Compares 2 U," in which she unmistakably intones melodic intervals much smaller than a semitone. This adds great plangency and pathos to the music, and she is obviously not signing in the conventional Western tuning. Or again, consider the Javanese gamelan. One gamelan is likely to use narrower pitches where another gamelan uses wider ones -- yet both gamelans ostensibly use the same tuning. Once again, we have an example in which pitch is warped for expressive purposes, yet not recognized on paper as doing so. This reminds to avoid the error of scriptism: i.e., concentrating on how music is notated, rather than how it sounds.
 Ivor Darreg's definition of microtonality seems peculiar inasmuch as he seems to posit a tuning whose smallest intervals are larger than the conventional western semitone as "microtonal." How can anything larger than a semitone be called "micro"? What Ivor is getting at here, however, is that what is often called "microtonal" music in essence sounds different from conventional music. One of the best examples of this involves the 5 tone equal tuning, which sounds radically different from conventional western music. With a 720-cent perfect fifth and a step-size of 240 cents, nothing in this tuning sounds remotely akin to Western music. As a result, music in 5 equal creates a striking musical impression on listeners. The same proves true of music in 7 equal, 9 equal, 10 equal, and so on. By contrast, 5-limit just diatonic just intonation typically sounds no different from conventional western music, although its ratios theoretically have different values. LIkewise, meantone and especially well tempered tunings sound so slightly different from conventional western 12 equal tuning that most listeners simply cannot a difference. What Ivor is driving at is that it makes no sense to describe a tuning as "microtonal" if listeners cannot reliably hear a difference between that tuning and the conventional western tuning of 12 semitones per octave.
@@ Line 51: / Line 51: @@
 The important point about such music (tape music, extended performance techniques by the orchestra, etc.) is that retuning the individual random pitches even by large amounts (say, 50 cents) would make no difference to the overall effect of the music. In fact, many contemporary orchestral compositions which use extended performance techniques leave the specific choice of random pitches up to the performers, and as a result repeat performances of such compositions typically **//do//** exhibit large pitch variations. Regardless, the composition sounds the same -- and the reason is simple: because in such extended performance techniques, the individual pitches don't matter. What matters in such pieces is the ensemble effect, or, in tape music, the timbral effect. In genuine microtonality, however, the individual pitches matter a great deal.
-The reason why such compositions (using extended performance techniques) sound the same even when played with greatly varying pitches in repeat performance is simple. Two performances of //Penderecki's Threnody for the Victims Of Hiroshima//, for instance, hardly sound any different...even though the individual pitches played by the orchestra are scarcely comparable. The overall effect is what matters in such music, not the individual pitches. Most tape music and musique concrete and contemporary music making use of glissing effects, like Iannis Xenakis' early orchestral pieces (//Metastasis, Eonta, Kraanerg//) or Penderecki's //Threnody For the Victims of Hiroshima//, make use of arbitrary pitch variations as a gestural or timbral effect rather than for their structural harmonic and melodic properties. Consequently, in many such compositions, the exact pitches are not even written down! Penderecki's score, for instance, merely uses thicker and thinner lines on an orchestral score to suggest general ranges of variation in pitch. This is clearly not microtonality because we are dealing here with glissandi or portamenti or other pitch variations used as gestures, rather than to produce audibly different harmonies and melodies which sound distinct from those of conventional Western music. Randomly-detuned pitches, especially those sounded in an orchestral ensemble, belong to an entirely realm of music -- the realm of aleatoric extended performance effects. Such gestural effects, while often musically valuable and useful, and often present in superb modern compositions, should not be confused with the specific structural use of non-Western harmonies and melodies as is found in, say, Ivor Darreg's //19-tone equal tempered prelude for guitar #1//, or Kraig Grady's //Farewell Ring// (which uses one of Erv Wilson's CPS JI tunings) or Bill Wesley's //Harmony 101//. Those latter compositions deploy a specific set of audibly non-Western pitches but nonetheless use relatively conventional harmonies and melodies. By contrast, Xenakis and Penderecki and tape composers like Pierre Henry and Tod Dockstader used non-western pitches as merely one among many audible effects in their arsenal of extended performance techniques to generate ensemble effects in the service of a larger esthetic. To put it bluntly, tape music and mass random orchestral tone clusters are not meant to be heard in the same structural way as a Bach chorale, and listeners cannot expect to apply conventional methods of analystic music theory to such compositions.
+The reason why such compositions (using extended performance techniques) sound the same even when played with greatly varying pitches in repeat performance is simple. Two performances of Penderecki's //Threnody for the Victims Of Hiroshima//, for instance, hardly sound any different...even though the individual pitches played by the orchestra are scarcely comparable. The overall effect is what matters in such music, not the individual pitches. Much tape music and //musique concrete// and a fair amount ofcontemporary music makes use of glissing effects. For instance, Iannis Xenakis' early orchestral pieces (//Metastasis, Eonta, Kraanerg//) or Penderecki's //Threnody For the Victims of Hiroshima//, akk make use of arbitrary pitch variations as a gestural or timbral effect rather than for their structural harmonic and melodic properties. Consequently, in many such compositions, the exact pitches are not even written down! Penderecki's score, for instance, merely uses thicker and thinner lines on an orchestral score to suggest general ranges of variation in pitch. This is clearly not microtonality because we are dealing here with glissandi or portamenti or other pitch variations used as gestures, rather than to produce audibly different harmonies and melodies which sound distinct from those of conventional Western music. Randomly-detuned pitches, especially those sounded in an orchestral ensemble, belong to an entirely realm of music -- the realm of aleatoric extended performance effects. Such gestural effects, while often musically valuable and useful, and often present in superb modern compositions, should not be confused with the specific structural use of non-Western harmonies and melodies as is found in, say, Ivor Darreg's //19-tone equal tempered prelude for guitar #1//, or Kraig Grady's //Farewell Ring// (which uses one of Erv Wilson's CPS JI tunings) or Bill Wesley's //Harmony 101// or Kyle Gann's //Triskaidekaphilia (Tuning Study No.6)// or William Schottstaedt's //Colony V//. Those latter compositions deploy a specific set of audibly non-Western pitches but nonetheless use relatively conventional harmonies and melodies. By contrast, Xenakis and Penderecki and tape composers like Pierre Henry and Tod Dockstader used non-western pitches as merely one among many audible effects in their arsenal of extended performance techniques to generate ensemble musical gestures in the service of a larger esthetic. To put it bluntly, tape music and mass random orchestral tone clusters are not meant to be heard in the same structural way as a Bach chorale, and listeners cannot expect to apply conventional methods of analysis to music theory to such compositions.
 Finally, this raises the crucial issue of musical style. Javanese gamelan music sounds audibly different from conventional Western music: is it microtonal? Most people would say "no," and the evidence is clear. In record stores we never find Javanese gamelan CDs in a section labeled "microtonal music." Instead, we typically find Javanese gamelan CDs in the "Non-Western" section.
@@ Line 97: / Line 97: @@
 &amp;quot;These well temperaments are what we might call paper tunings: fine in theory, but in practice indistinguishable from the modern twelve tone equal temperament.&amp;quot; -- J. Murray Barbour&lt;br /&gt;
 &lt;br /&gt;
-By holding each of these definitions in our hand and turning it over in the light, we can see each separate facet of what makes music microtonal. The first definition, by Johnny Reinhard, seems as first glance entirely inadequate, since it does not define. A definition must eo ipso separate what is defined from what is not, and so Reinhard's description of microtonality would superficially appear useless. If all music is microtonal, then microtonal music has no distinguishing features. But if we look closer, we catch sight of a deeper meaning in Reinhard's gnostic oxymoron. What Johnny is probably getting at is the fact that while all music adheres in theory to a rigid set of restricted pitches, in actual practice real musicians in the real world typically bend these pitches for expressive purposes. A fine example can be found in Sinead O'Connor's song &amp;quot;Nothing Compares 2 U,&amp;quot; in which she unmistakably intones melodic intervals much smaller than a semitone. This adds great plangency and pathos to the music, and she is obviously not signing in the conventional Western tuning. Or again, consider the Javanese gamelan. One gamelan is likely to use narrower pitches where another gamelan uses wider ones -- yet both gamelans ostensibly use the same tuning. Once again, we have an example in which pitch is warped for expressive purposes, yet not recognized on paper as doing so.&lt;br /&gt;
+By holding each of these definitions in our hand and turning it over in the light, we can see each separate facet of what makes music microtonal. The first definition, by Johnny Reinhard, seems as first glance entirely inadequate, since it does not define. A definition must eo ipso separate what is defined from what is not, and so Reinhard's description of microtonality would superficially appear useless. If all music is microtonal, then microtonal music has no distinguishing features. But if we look closer, we catch sight of a deeper meaning in Reinhard's gnostic oxymoron. What Johnny is probably getting at is the fact that while all music adheres in theory to a rigid set of restricted pitches, in actual practice real musicians in the real world typically bend these pitches for expressive purposes. A fine example can be found in Sinead O'Connor's song &amp;quot;Nothing Compares 2 U,&amp;quot; in which she unmistakably intones melodic intervals much smaller than a semitone. This adds great plangency and pathos to the music, and she is obviously not signing in the conventional Western tuning. Or again, consider the Javanese gamelan. One gamelan is likely to use narrower pitches where another gamelan uses wider ones -- yet both gamelans ostensibly use the same tuning. Once again, we have an example in which pitch is warped for expressive purposes, yet not recognized on paper as doing so. This reminds to avoid the error of scriptism: i.e., concentrating on how music is notated, rather than how it sounds.&lt;br /&gt;
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 Ivor Darreg's definition of microtonality seems peculiar inasmuch as he seems to posit a tuning whose smallest intervals are larger than the conventional western semitone as &amp;quot;microtonal.&amp;quot; How can anything larger than a semitone be called &amp;quot;micro&amp;quot;? What Ivor is getting at here, however, is that what is often called &amp;quot;microtonal&amp;quot; music in essence sounds different from conventional music. One of the best examples of this involves the 5 tone equal tuning, which sounds radically different from conventional western music. With a 720-cent perfect fifth and a step-size of 240 cents, nothing in this tuning sounds remotely akin to Western music. As a result, music in 5 equal creates a striking musical impression on listeners. The same proves true of music in 7 equal, 9 equal, 10 equal, and so on. By contrast, 5-limit just diatonic just intonation typically sounds no different from conventional western music, although its ratios theoretically have different values. LIkewise, meantone and especially well tempered tunings sound so slightly different from conventional western 12 equal tuning that most listeners simply cannot a difference. What Ivor is driving at is that it makes no sense to describe a tuning as &amp;quot;microtonal&amp;quot; if listeners cannot reliably hear a difference between that tuning and the conventional western tuning of 12 semitones per octave.&lt;br /&gt;
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 The important point about such music (tape music, extended performance techniques by the orchestra, etc.) is that retuning the individual random pitches even by large amounts (say, 50 cents) would make no difference to the overall effect of the music. In fact, many contemporary orchestral compositions which use extended performance techniques leave the specific choice of random pitches up to the performers, and as a result repeat performances of such compositions typically &lt;strong&gt;&lt;em&gt;do&lt;/em&gt;&lt;/strong&gt; exhibit large pitch variations. Regardless, the composition sounds the same -- and the reason is simple: because in such extended performance techniques, the individual pitches don't matter. What matters in such pieces is the ensemble effect, or, in tape music, the timbral effect. In genuine microtonality, however, the individual pitches matter a great deal.&lt;br /&gt;
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-The reason why such compositions (using extended performance techniques) sound the same even when played with greatly varying pitches in repeat performance is simple. Two performances of &lt;em&gt;Penderecki's Threnody for the Victims Of Hiroshima&lt;/em&gt;, for instance, hardly sound any different...even though the individual pitches played by the orchestra are scarcely comparable. The overall effect is what matters in such music, not the individual pitches. Most tape music and musique concrete and contemporary music making use of glissing effects, like Iannis Xenakis' early orchestral pieces (&lt;em&gt;Metastasis, Eonta, Kraanerg&lt;/em&gt;) or Penderecki's &lt;em&gt;Threnody For the Victims of Hiroshima&lt;/em&gt;, make use of arbitrary pitch variations as a gestural or timbral effect rather than for their structural harmonic and melodic properties. Consequently, in many such compositions, the exact pitches are not even written down! Penderecki's score, for instance, merely uses thicker and thinner lines on an orchestral score to suggest general ranges of variation in pitch. This is clearly not microtonality because we are dealing here with glissandi or portamenti or other pitch variations used as gestures, rather than to produce audibly different harmonies and melodies which sound distinct from those of conventional Western music. Randomly-detuned pitches, especially those sounded in an orchestral ensemble, belong to an entirely realm of music -- the realm of aleatoric extended performance effects. Such gestural effects, while often musically valuable and useful, and often present in superb modern compositions, should not be confused with the specific structural use of non-Western harmonies and melodies as is found in, say, Ivor Darreg's &lt;em&gt;19-tone equal tempered prelude for guitar #1&lt;/em&gt;, or Kraig Grady's &lt;em&gt;Farewell Ring&lt;/em&gt; (which uses one of Erv Wilson's CPS JI tunings) or Bill Wesley's &lt;em&gt;Harmony 101&lt;/em&gt;. Those latter compositions deploy a specific set of audibly non-Western pitches but nonetheless use relatively conventional harmonies and melodies. By contrast, Xenakis and Penderecki and tape composers like Pierre Henry and Tod Dockstader used non-western pitches as merely one among many audible effects in their arsenal of extended performance techniques to generate ensemble effects in the service of a larger esthetic. To put it bluntly, tape music and mass random orchestral tone clusters are not meant to be heard in the same structural way as a Bach chorale, and listeners cannot expect to apply conventional methods of analystic music theory to such compositions.&lt;br /&gt;
+The reason why such compositions (using extended performance techniques) sound the same even when played with greatly varying pitches in repeat performance is simple. Two performances of Penderecki's &lt;em&gt;Threnody for the Victims Of Hiroshima&lt;/em&gt;, for instance, hardly sound any different...even though the individual pitches played by the orchestra are scarcely comparable. The overall effect is what matters in such music, not the individual pitches. Much tape music and &lt;em&gt;musique concrete&lt;/em&gt; and a fair amount ofcontemporary music makes use of glissing effects. For instance, Iannis Xenakis' early orchestral pieces (&lt;em&gt;Metastasis, Eonta, Kraanerg&lt;/em&gt;) or Penderecki's &lt;em&gt;Threnody For the Victims of Hiroshima&lt;/em&gt;, akk make use of arbitrary pitch variations as a gestural or timbral effect rather than for their structural harmonic and melodic properties. Consequently, in many such compositions, the exact pitches are not even written down! Penderecki's score, for instance, merely uses thicker and thinner lines on an orchestral score to suggest general ranges of variation in pitch. This is clearly not microtonality because we are dealing here with glissandi or portamenti or other pitch variations used as gestures, rather than to produce audibly different harmonies and melodies which sound distinct from those of conventional Western music. Randomly-detuned pitches, especially those sounded in an orchestral ensemble, belong to an entirely realm of music -- the realm of aleatoric extended performance effects. Such gestural effects, while often musically valuable and useful, and often present in superb modern compositions, should not be confused with the specific structural use of non-Western harmonies and melodies as is found in, say, Ivor Darreg's &lt;em&gt;19-tone equal tempered prelude for guitar #1&lt;/em&gt;, or Kraig Grady's &lt;em&gt;Farewell Ring&lt;/em&gt; (which uses one of Erv Wilson's CPS JI tunings) or Bill Wesley's &lt;em&gt;Harmony 101&lt;/em&gt; or Kyle Gann's &lt;em&gt;Triskaidekaphilia (Tuning Study No.6)&lt;/em&gt; or William Schottstaedt's &lt;em&gt;Colony V&lt;/em&gt;. Those latter compositions deploy a specific set of audibly non-Western pitches but nonetheless use relatively conventional harmonies and melodies. By contrast, Xenakis and Penderecki and tape composers like Pierre Henry and Tod Dockstader used non-western pitches as merely one among many audible effects in their arsenal of extended performance techniques to generate ensemble musical gestures in the service of a larger esthetic. To put it bluntly, tape music and mass random orchestral tone clusters are not meant to be heard in the same structural way as a Bach chorale, and listeners cannot expect to apply conventional methods of analysis to music theory to such compositions.&lt;br /&gt;
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 Finally, this raises the crucial issue of musical style. Javanese gamelan music sounds audibly different from conventional Western music: is it microtonal? Most people would say &amp;quot;no,&amp;quot; and the evidence is clear. In record stores we never find Javanese gamelan CDs in a section labeled &amp;quot;microtonal music.&amp;quot; Instead, we typically find Javanese gamelan CDs in the &amp;quot;Non-Western&amp;quot; section.&lt;br /&gt;