Microtonal music: Difference between revisions
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:genewardsmith|genewardsmith]] and made on <tt>2011-08-17 | : This revision was by author [[User:genewardsmith|genewardsmith]] and made on <tt>2011-08-17 02:18:41 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>246424071</tt>.<br> | ||
: The revision comment was: <tt></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> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
<h4>Original Wikitext content:</h4> | <h4>Original Wikitext content:</h4> | ||
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">[[toc|flat]] | <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">[[toc|flat]] | ||
=Terminology= | =Terminology= | ||
//Microtonal music// can refer to all music which contains intervals smaller than the conventional contemporary Western | //Microtonal music// can refer to all music which contains intervals smaller than the conventional contemporary Western semitone of 100 cents. The term implies music containing very small intervals but can include any tuning that differs from the western 12-tone [[equal temperament]]. The following systems are considered to be microtonal: the traditional [[Carnatic Music|Carnatic]] system of 22 [[Śruti (music)|śruti]]; much Indonesian [[gamelan|gamelan music]]; Thai, Burmese, and African music using seven tones in each (approximate) octave; and [[blues]] and/or [[rock music]] which makes extensive use of [[blue notes]]. Also, music using [[just intonation]], [[meantone temperament]], or other alternative tunings may be considered microtonal | ||
Other terminology has been used (and is still used today) by theorists and composers. ''Micro-intervals'' is commonly used to speak about intervals smaller than the | Other terminology has been used (and is still used today) by theorists and composers. ''Micro-intervals'' is commonly used to speak about intervals smaller than the semitone, and sometimes ''macro-intervals'' for non-multiples of the semitone greater than it. [[http://en.wikipedia.org/wiki/Ivan_Wyschnegradsky|Ivan Wyschnegradsky]] used the term ''ultra-chromatic'' for micro-intervals and ''infra-chromatic'' for macro-intervals (Wyschnegradsky 1972, 84-87). [[Ivor Darreg]] proposed the term ''xenharmonic'' (from the [[Greek language|Greek]] ''ξένος'', ''foreign'', and [[Greek language|Greek]] ''ξενία'', ''hospitable'') for any scale other than the 12-tone equal-tempered scale. (See [[Xenharmony|xenharmonic]] music). | ||
=Usage= | =Usage= | ||
One reason composers of microtonal music explore alternate tunings is that each unique division of the octave or [[pseudo-octave]] creates new interval relationships and thereby new sound possibilities. Just-intonation scales such as [[Harry Partch's 43-tone scale|Partch's 43 tone unequal scale]] start with the (non-tempered) diatonic Western scale, and many of them extend it, in Partch's case up to the 11th [[overtone|partial]] (Partch 1979, 93, 119–37). Some microtonal scales, like the [[19edo|19 tone]] or [[31edo|31 tone]] equal-tempered scales, contain intervals that are close to those within diatonic scales. Other equal divisions of the octave, such as 15-, 16-, and 17-tone, may also support a diatonic basis for Western musical notation and tonal theory, and have other viable intervallic relationships (Blackwood 1991). For example, although 19-note equal tuning provides the same diatonic chordal relations as are found in 12-note equal tuning, the available chromatic progressions are quite different, because of the closed circle of nineteen fifths, as opposed to twelve. In 12-note equal tuning, a modulating sequence in successive descending minor thirds will return to its starting point at the fourth transposed repetition, but in 19-note tuning the initial chord is not found until the nineteenth transposed repetition, creating a rather confounding but not disagreeable effect (Blackwood 1991, 171). | One reason composers of microtonal music explore alternate tunings is that each unique division of the octave or [[http://en.wikipedia.org/wiki/Pseudo-octave|pseudo-octave]] creates new interval relationships and thereby new sound possibilities. Just-intonation scales such as [[Harry Partch's 43-tone scale|Partch's 43 tone unequal scale]] start with the (non-tempered) diatonic Western scale, and many of them extend it, in Partch's case up to the 11th [[overtone|partial]] (Partch 1979, 93, 119–37). Some microtonal scales, like the [[19edo|19 tone]] or [[31edo|31 tone]] equal-tempered scales, contain intervals that are close to those within diatonic scales. Other equal divisions of the octave, such as 15-, 16-, and 17-tone, may also support a diatonic basis for Western musical notation and tonal theory, and have other viable intervallic relationships (Blackwood 1991). For example, although 19-note equal tuning provides the same diatonic chordal relations as are found in 12-note equal tuning, the available chromatic progressions are quite different, because of the closed circle of nineteen fifths, as opposed to twelve. In 12-note equal tuning, a modulating sequence in successive descending minor thirds will return to its starting point at the fourth transposed repetition, but in 19-note tuning the initial chord is not found until the nineteenth transposed repetition, creating a rather confounding but not disagreeable effect (Blackwood 1991, 171). | ||
=History= | =History= | ||
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<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Microtonal music</title></head><body><!-- ws:start:WikiTextTocRule:22:&lt;img id=&quot;wikitext@@toc@@flat&quot; class=&quot;WikiMedia WikiMediaTocFlat&quot; title=&quot;Table of Contents&quot; src=&quot;/site/embedthumbnail/toc/flat?w=100&amp;h=16&quot;/&gt; --><!-- ws:end:WikiTextTocRule:22 --><!-- ws:start:WikiTextTocRule:23: --><a href="#Terminology">Terminology</a><!-- ws:end:WikiTextTocRule:23 --><!-- ws:start:WikiTextTocRule:24: --> | <a href="#Usage">Usage</a><!-- ws:end:WikiTextTocRule:24 --><!-- ws:start:WikiTextTocRule:25: --> | <a href="#History">History</a><!-- ws:end:WikiTextTocRule:25 --><!-- ws:start:WikiTextTocRule:26: --> | <a href="#Microtonalism in electronic music">Microtonalism in electronic music</a><!-- ws:end:WikiTextTocRule:26 --><!-- ws:start:WikiTextTocRule:27: --> | <a href="#Microtonalism in rock music">Microtonalism in rock music</a><!-- ws:end:WikiTextTocRule:27 --><!-- ws:start:WikiTextTocRule:28: --> | <a href="#See also">See also</a><!-- ws:end:WikiTextTocRule:28 --><!-- ws:start:WikiTextTocRule:29: --> | <a href="#Western microtonal pioneers">Western microtonal pioneers</a><!-- ws:end:WikiTextTocRule:29 --><!-- ws:start:WikiTextTocRule:30: --> | <a href="#Recent microtonal composers">Recent microtonal composers</a><!-- ws:end:WikiTextTocRule:30 --><!-- ws:start:WikiTextTocRule:31: --> | <a href="#Microtonal researchers">Microtonal researchers</a><!-- ws:end:WikiTextTocRule:31 --><!-- ws:start:WikiTextTocRule:32: --> | <a href="#References">References</a><!-- ws:end:WikiTextTocRule:32 --><!-- ws:start:WikiTextTocRule:33: --> | <a href="#External links">External links</a><!-- ws:end:WikiTextTocRule:33 --><!-- ws:start:WikiTextTocRule:34: --> | <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Microtonal music</title></head><body><!-- ws:start:WikiTextTocRule:22:&lt;img id=&quot;wikitext@@toc@@flat&quot; class=&quot;WikiMedia WikiMediaTocFlat&quot; title=&quot;Table of Contents&quot; src=&quot;/site/embedthumbnail/toc/flat?w=100&amp;h=16&quot;/&gt; --><!-- ws:end:WikiTextTocRule:22 --><!-- ws:start:WikiTextTocRule:23: --><a href="#Terminology">Terminology</a><!-- ws:end:WikiTextTocRule:23 --><!-- ws:start:WikiTextTocRule:24: --> | <a href="#Usage">Usage</a><!-- ws:end:WikiTextTocRule:24 --><!-- ws:start:WikiTextTocRule:25: --> | <a href="#History">History</a><!-- ws:end:WikiTextTocRule:25 --><!-- ws:start:WikiTextTocRule:26: --> | <a href="#Microtonalism in electronic music">Microtonalism in electronic music</a><!-- ws:end:WikiTextTocRule:26 --><!-- ws:start:WikiTextTocRule:27: --> | <a href="#Microtonalism in rock music">Microtonalism in rock music</a><!-- ws:end:WikiTextTocRule:27 --><!-- ws:start:WikiTextTocRule:28: --> | <a href="#See also">See also</a><!-- ws:end:WikiTextTocRule:28 --><!-- ws:start:WikiTextTocRule:29: --> | <a href="#Western microtonal pioneers">Western microtonal pioneers</a><!-- ws:end:WikiTextTocRule:29 --><!-- ws:start:WikiTextTocRule:30: --> | <a href="#Recent microtonal composers">Recent microtonal composers</a><!-- ws:end:WikiTextTocRule:30 --><!-- ws:start:WikiTextTocRule:31: --> | <a href="#Microtonal researchers">Microtonal researchers</a><!-- ws:end:WikiTextTocRule:31 --><!-- ws:start:WikiTextTocRule:32: --> | <a href="#References">References</a><!-- ws:end:WikiTextTocRule:32 --><!-- ws:start:WikiTextTocRule:33: --> | <a href="#External links">External links</a><!-- ws:end:WikiTextTocRule:33 --><!-- ws:start:WikiTextTocRule:34: --> | ||
<!-- ws:end:WikiTextTocRule:34 --><br /> | <!-- ws:end:WikiTextTocRule:34 --><br /> | ||
<!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Terminology"></a><!-- ws:end:WikiTextHeadingRule:0 -->Terminology</h1> | <!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Terminology"></a><!-- ws:end:WikiTextHeadingRule:0 -->Terminology</h1> | ||
<em>Microtonal music</em> can refer to all music which contains intervals smaller than the conventional contemporary Western | <em>Microtonal music</em> can refer to all music which contains intervals smaller than the conventional contemporary Western semitone of 100 cents. The term implies music containing very small intervals but can include any tuning that differs from the western 12-tone <a class="wiki_link" href="/equal%20temperament">equal temperament</a>. The following systems are considered to be microtonal: the traditional <a class="wiki_link" href="/Carnatic%20Music">Carnatic</a> system of 22 <a class="wiki_link" href="/%C5%9Aruti%20%28music%29">śruti</a>; much Indonesian <a class="wiki_link" href="/gamelan">gamelan music</a>; Thai, Burmese, and African music using seven tones in each (approximate) octave; and <a class="wiki_link" href="/blues">blues</a> and/or <a class="wiki_link" href="/rock%20music">rock music</a> which makes extensive use of <a class="wiki_link" href="/blue%20notes">blue notes</a>. Also, music using <a class="wiki_link" href="/just%20intonation">just intonation</a>, <a class="wiki_link" href="/meantone%20temperament">meantone temperament</a>, or other alternative tunings may be considered microtonal<br /> | ||
<br /> | <br /> | ||
Other terminology has been used (and is still used today) by theorists and composers. ''Micro-intervals'' is commonly used to speak about intervals smaller than the | Other terminology has been used (and is still used today) by theorists and composers. ''Micro-intervals'' is commonly used to speak about intervals smaller than the semitone, and sometimes ''macro-intervals'' for non-multiples of the semitone greater than it. <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Ivan_Wyschnegradsky" rel="nofollow">Ivan Wyschnegradsky</a> used the term ''ultra-chromatic'' for micro-intervals and ''infra-chromatic'' for macro-intervals (Wyschnegradsky 1972, 84-87). <a class="wiki_link" href="/Ivor%20Darreg">Ivor Darreg</a> proposed the term ''xenharmonic'' (from the <a class="wiki_link" href="/Greek%20language">Greek</a> ''ξένος'', ''foreign'', and <a class="wiki_link" href="/Greek%20language">Greek</a> ''ξενία'', ''hospitable'') for any scale other than the 12-tone equal-tempered scale. (See <a class="wiki_link" href="/Xenharmony">xenharmonic</a> music).<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:2:&lt;h1&gt; --><h1 id="toc1"><a name="Usage"></a><!-- ws:end:WikiTextHeadingRule:2 -->Usage</h1> | <!-- ws:start:WikiTextHeadingRule:2:&lt;h1&gt; --><h1 id="toc1"><a name="Usage"></a><!-- ws:end:WikiTextHeadingRule:2 -->Usage</h1> | ||
One reason composers of microtonal music explore alternate tunings is that each unique division of the octave or <a class=" | One reason composers of microtonal music explore alternate tunings is that each unique division of the octave or <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Pseudo-octave" rel="nofollow">pseudo-octave</a> creates new interval relationships and thereby new sound possibilities. Just-intonation scales such as <a class="wiki_link" href="/Harry%20Partch%27s%2043-tone%20scale">Partch's 43 tone unequal scale</a> start with the (non-tempered) diatonic Western scale, and many of them extend it, in Partch's case up to the 11th <a class="wiki_link" href="/overtone">partial</a> (Partch 1979, 93, 119–37). Some microtonal scales, like the <a class="wiki_link" href="/19edo">19 tone</a> or <a class="wiki_link" href="/31edo">31 tone</a> equal-tempered scales, contain intervals that are close to those within diatonic scales. Other equal divisions of the octave, such as 15-, 16-, and 17-tone, may also support a diatonic basis for Western musical notation and tonal theory, and have other viable intervallic relationships (Blackwood 1991). For example, although 19-note equal tuning provides the same diatonic chordal relations as are found in 12-note equal tuning, the available chromatic progressions are quite different, because of the closed circle of nineteen fifths, as opposed to twelve. In 12-note equal tuning, a modulating sequence in successive descending minor thirds will return to its starting point at the fourth transposed repetition, but in 19-note tuning the initial chord is not found until the nineteenth transposed repetition, creating a rather confounding but not disagreeable effect (Blackwood 1991, 171).<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="History"></a><!-- ws:end:WikiTextHeadingRule:4 -->History</h1> | <!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="History"></a><!-- ws:end:WikiTextHeadingRule:4 -->History</h1> | ||
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Pioneers of modern Western microtonal music include:<br /> | Pioneers of modern Western microtonal music include:<br /> | ||
<ul><li><a class="wiki_link" href="/Henry%20Ward%20Poole">Henry Ward Poole</a> (keyboard designs, 1825–1890)</li></ul><br /> | <ul><li><a class="wiki_link" href="/Henry%20Ward%20Poole">Henry Ward Poole</a> (keyboard designs, 1825–1890)</li></ul><br /> | ||
<ul><li><a class="wiki_link" href="/Eug%C3%A8ne%20Ysa%C3%BFe">Eugène Ysaÿe</a> (Belgium, U.S.A., 1858–1931, used quarter tones in several of the <a class="wiki_link" href="/6%20Sonatas%20for%20Solo%20Violin%2C%20Op.%2027%20%28Ysa%C3%BFe%29">Sonatas for Solo Violin, Op. 27</a>)</li><li><a class="wiki_link" href="/Charles%20Ives">Charles Ives</a> (U.S.A., 1874–1954, quartertones)</li><li><a class="wiki_link" href="/Juli%C3%A1n%20Carrillo">Julián Carrillo</a> (Mexico, 1875–1965) many different equal temperaments, look [<!-- ws:start:WikiTextUrlRule: | <ul><li><a class="wiki_link" href="/Eug%C3%A8ne%20Ysa%C3%BFe">Eugène Ysaÿe</a> (Belgium, U.S.A., 1858–1931, used quarter tones in several of the <a class="wiki_link" href="/6%20Sonatas%20for%20Solo%20Violin%2C%20Op.%2027%20%28Ysa%C3%BFe%29">Sonatas for Solo Violin, Op. 27</a>)</li><li><a class="wiki_link" href="/Charles%20Ives">Charles Ives</a> (U.S.A., 1874–1954, quartertones)</li><li><a class="wiki_link" href="/Juli%C3%A1n%20Carrillo">Julián Carrillo</a> (Mexico, 1875–1965) many different equal temperaments, look [<!-- ws:start:WikiTextUrlRule:683:http://paginas.tol.itesm.mx/campus/L00280370/carrillo.html --><a class="wiki_link_ext" href="http://paginas.tol.itesm.mx/campus/L00280370/carrillo.html" rel="nofollow">http://paginas.tol.itesm.mx/campus/L00280370/carrillo.html</a><!-- ws:end:WikiTextUrlRule:683 --> here] or [<!-- ws:start:WikiTextUrlRule:684:http://paginas.tol.itesm.mx/campus/L00280370/julian.html --><a class="wiki_link_ext" href="http://paginas.tol.itesm.mx/campus/L00280370/julian.html" rel="nofollow">http://paginas.tol.itesm.mx/campus/L00280370/julian.html</a><!-- ws:end:WikiTextUrlRule:684 --> here] (mostly Spanish but some English too)</li><li><a class="wiki_link" href="/B%C3%A9la%20Bart%C3%B3k">Béla Bartók</a> (Hungary, 1881–1945, rare uses of quartertones)</li><li><a class="wiki_link" href="/George%20Enescu">George Enescu</a> (Romania, France, 1881–1955) (in ''<a class="wiki_link" href="/%C5%92dipe%20%28opera%29">Œdipe</a>'' to suggest the <a class="wiki_link" href="/enharmonic%20genus">enharmonic genus</a> of <a class="wiki_link" href="/ancient%20Greek%20music">ancient Greek music</a>, and in the Third Violin Sonata, as inflections characteristic of Romanian folk music)</li><li><a class="wiki_link" href="/Karol%20Szymanowski">Karol Szymanowski</a> (Poland, 1882–1937, used quartertones on the violin in ''Myths'' Op. 30, 1915)</li><li><a class="wiki_link" href="/Percy%20Grainger">Percy Grainger</a> (Australia, 1882–1961, particularly works for his &quot;free music machine&quot;)</li><li><a class="wiki_link" href="/Edgard%20Var%C3%A8se">Edgard Varèse</a> (France, U.S.A., 1883–1965, quartertones)</li><li><a class="wiki_link" href="/Luigi%20Russolo">Luigi Russolo</a> (Italy, 1885–1947, used quartertones and eighth tones on the ''Intonarumori'', noise instruments)</li><li><a class="wiki_link" href="/Mildred%20Couper">Mildred Couper</a> (U.S.A., 1887–1974, quartertones)</li><li><a class="wiki_link" href="/Alois%20H%C3%A1ba">Alois Hába</a> (Czechoslovakia, 1893–1973, quartertones and other equal temperaments)</li><li><a class="wiki_link" href="/Ivan%20Wyschnegradsky">Ivan Wyschnegradsky</a> (U.S.S.R. (Russia), France, 1893–1979, quartertones, twelfth tones and other equal temperaments)</li><li><a class="wiki_link" href="/Harry%20Partch">Harry Partch</a> (U.S.A., 1901–1974, just intonation)</li><li><a class="wiki_link" href="/Eivind%20Groven">Eivind Groven</a> (Norway, 1901–1977, 53ET)</li><li><a class="wiki_link" href="/Henk%20Badings">Henk Badings</a> (The Netherlands, 1907–1987, 31ET)</li><li><a class="wiki_link" href="/Maurice%20Ohana">Maurice Ohana</a> (France, 1913–1992, third tones (18-equal) temperament and quarter tones (24ET) most particularly)</li><li><a class="wiki_link" href="/Giacinto%20Scelsi">Giacinto Scelsi</a> (Italy, 1905–1988, intuitive linear tone deviations, quartertones, eighth tones)</li><li><a class="wiki_link" href="/Lou%20Harrison">Lou Harrison</a> (U.S.A., 1917–2003, just intonation)</li><li><a class="wiki_link" href="/Ivor%20Darreg">Ivor Darreg</a> (U.S.A., 1917–1994)</li><li><a class="wiki_link" href="/Jean-Etienne%20Marie">Jean-Etienne Marie</a> (France, 1919–1989, many different equal temperaments: 18ET, 24ET, 30ET, 36ET, 48ET, 96ET most particularly and polymicrotonality)</li><li><a class="wiki_link" href="/Franz%20Richter%20Herf">Franz Richter Herf</a> (Austria, 1920–1989, 72-equal temperament, &quot;ekmelic&quot; music)</li><li><a class="wiki_link" href="/Iannis%20Xenakis">Iannis Xenakis</a> (Greece, France, 1922–2001, quarter and third tones most particularly, occasionally eighth tones)</li><li><a class="wiki_link" href="/Gy%C3%B6rgy%20Ligeti">György Ligeti</a> (Hungary, 1923–2006, ''Ramifications'' in quartertone tuning, natural harmonics in his Horn Trio, later just intonation in his solo concertos)</li><li><a class="wiki_link" href="/Luigi%20Nono">Luigi Nono</a> (Italy, 1924–1990, quartetones, eighth tones and 16th tones)</li><li><a class="wiki_link" href="/Claude%20Ballif">Claude Ballif</a> (France, 1924–2004, quartertones)</li><li><a class="wiki_link" href="/Tui%20St.%20George%20Tucker">Tui St. George Tucker</a> (1924–2004)</li><li><a class="wiki_link" href="/Pierre%20Boulez">Pierre Boulez</a> (France, b. 1925) (first attempt of <a class="wiki_link" href="/serial%20music">serial music</a> with quartertones in his pieces ''Visage Nuptial'' and &quot;Polyphonie X&quot;, but soon after abandoning microtonal elements)</li><li><a class="wiki_link" href="/Karlheinz%20Stockhausen">Karlheinz Stockhausen</a> (Germany, 1928–2007, in his electronic works many microtonal concepts, non-octaving scales in ''Studie II'', just intonation in ''<a class="wiki_link" href="/Gruppen%20%28Stockhausen%29">Gruppen</a>'' and ''<a class="wiki_link" href="/Stimmung">Stimmung</a>'', microtonal instrumental and vocal writing throughout ''<a class="wiki_link" href="/Licht">Licht</a>'')</li><li><a class="wiki_link" href="/Ben%20Johnston%20%28composer%29">Ben Johnston</a> (U.S.A., b. 1926, extended just intonation)</li><li><a class="wiki_link" href="/Ezra%20Sims">Ezra Sims</a> (U.S.A., b. 1928, 72-tone equal temperament)</li><li><a class="wiki_link" href="/Erv%20Wilson">Erv Wilson</a> (b. 1928)</li><li><a class="wiki_link" href="/Alvin%20Lucier">Alvin Lucier</a> (U.S.A., b. 1931)</li><li><a class="wiki_link" href="/Joel%20Mandelbaum">Joel Mandelbaum</a> (U.S.A., b. 1932)</li><li><a class="wiki_link" href="/Krzysztof%20Penderecki">Krzysztof Penderecki</a> (Poland, b. 1933, quartertones)</li><li><a class="wiki_link" href="/Easley%20Blackwood%20%28musician%29">Easley Blackwood</a> (b. 1933)</li><li><a class="wiki_link" href="/Alain%20Bancquart">Alain Bancquart</a>(France, b.1934) (quarter tones and 16th tones)</li><li><a class="wiki_link" href="/James%20Tenney">James Tenney</a> (U.S.A., 1934–2006, just intonation, 72-tone equal temperament)</li><li><a class="wiki_link" href="/Terry%20Riley">Terry Riley</a> (U.S.A., b. 1935, just intonation)</li><li><a class="wiki_link" href="/La%20Monte%20Young">La Monte Young</a> (U.S.A., b. 1935, just intonation)</li><li><a class="wiki_link" href="/Douglas%20Leedy">Douglas Leedy</a> (b. 1938, just intonation, meantone)</li><li><a class="wiki_link" href="/Wendy%20Carlos">Wendy Carlos</a> (U.S.A., b. 1939, non-octaving scales)</li><li><a class="wiki_link" href="/Bruce%20Mather">Bruce Mather</a> (Canada, b.1939, different equal temperaments, following Wyschnegradsky)</li><li><a class="wiki_link" href="/Brian%20Ferneyhough">Brian Ferneyhough</a> (Great Britain, b. 1943, quartertones, 31ET in ''Unity Capsule'' for solo flute,1976)</li></ul><br /> | ||
<!-- ws:start:WikiTextHeadingRule:14:&lt;h1&gt; --><h1 id="toc7"><a name="Recent microtonal composers"></a><!-- ws:end:WikiTextHeadingRule:14 -->Recent microtonal composers</h1> | <!-- ws:start:WikiTextHeadingRule:14:&lt;h1&gt; --><h1 id="toc7"><a name="Recent microtonal composers"></a><!-- ws:end:WikiTextHeadingRule:14 -->Recent microtonal composers</h1> | ||
<ul><li><a class="wiki_link" href="/Clarence%20Barlow">Clarence Barlow</a> (b. 1945)</li><li><a class="wiki_link" href="/G%C3%A9rard%20Grisey">Gérard Grisey</a> (1946–1998) (spectral approach to microintervals, quartertones, eighth tones)</li><li><a class="wiki_link" href="/Max%20M%C3%A9reaux">Max Méreaux</a> (b. 1946)</li><li><a class="wiki_link" href="/Tristan%20Murail">Tristan Murail</a> (b. 1947) (spectral approach to microintervals, quartertones, eighth tones)</li><li><a class="wiki_link" href="/Claude%20Vivier">Claude Vivier</a> (1948–1983)</li><li><a class="wiki_link" href="/Glenn%20Branca">Glenn Branca</a> (b. 1948)</li><li><a class="wiki_link" href="/Dean%20Drummond">Dean Drummond</a> (b. 1949) (Harry Partch's instruments currently in his possession)</li><li><a class="wiki_link" href="/Lasse%20Thoresen">Lasse Thoresen</a> (b. 1949)</li><li><a class="wiki_link" href="/Warren%20Burt">Warren Burt</a> (b. 1949)</li><li><a class="wiki_link" href="/Manfred%20Stahnke">Manfred Stahnke</a> (b. 1951)</li><li><a class="wiki_link" href="/Kraig%20Grady">Kraig Grady</a> (b. 1952) (invented acoustic instruments in just intonation &amp; recurrent sequences)</li><li><a class="wiki_link" href="/David%20First">David First</a> (b. 1953)</li><li><a class="wiki_link" href="/Georg%20Friedrich%20Haas">Georg Friedrich Haas</a> (b. 1953)</li><li><a class="wiki_link" href="/James%20Wood%20%28composer%29">James Wood</a> (b. 1953)</li><li><a class="wiki_link" href="/Paul%20Dirmeikis">Paul Dirmeikis</a> (b.1954)</li><li><a class="wiki_link" href="/Pascale%20Criton">Pascale Criton</a> (b. 1954) (different equal temperaments, most particularly very dense ETs such as the 96ET)</li><li><a class="wiki_link" href="/Stephen%20James%20Taylor">Stephen James Taylor</a> (b. 1954)</li><li><a class="wiki_link" href="/Kyle%20Gann">Kyle Gann</a> (b. 1955)</li><li><a class="wiki_link" href="/Pascal%20Dusapin">Pascal Dusapin</a> (b. 1955) (different equal temperaments, notably the 48ET)</li><li><a class="wiki_link" href="/Johnny%20Reinhard">Johnny Reinhard</a> (b. 1956) (different equal temperaments, just intonation, polymicrotonally)</li><li><a class="wiki_link" href="/Eric%20Mandat">Eric Mandat</a> (b. 1957)</li><li><a class="wiki_link" href="/Erling%20Wold">Erling Wold</a> (b. 1958)</li><li><a class="wiki_link" href="/Michael%20Bach%20%28cellist%2C%20composer%2C%20visual%20artist%29"> Michael Bach Bachtischa</a> (b. 1958)</li><li><a class="wiki_link" href="/Martin%20Smolka">Martin Smolka</a> (b. 1959)</li><li><a class="wiki_link" href="/Georg%20Hajdu">Georg Hajdu</a> (b. 1960)</li><li><a class="wiki_link" href="/William%20Susman">William Susman</a> (b. 1960)</li><li><a class="wiki_link" href="/Daniel%20James%20Wolf">Daniel James Wolf</a> (b. 1961)</li><li><a class="wiki_link" href="/Fran%C3%A7ois%20Paris">François Paris</a> (b.1961)</li><li><a class="wiki_link" href="/Rod%20Poole">Rod Poole</a> (b.1962 - d.2007)</li><li><a class="wiki_link" href="/Harold%20Fortuin">Harold Fortuin</a> (b. 1964)</li><li><a class="wiki_link" href="/Marc%20Sabat">Marc Sabat</a> (b. 1965)</li><li><a class="wiki_link" href="/Georges%20Lentz">Georges Lentz</a> (b. 1965)</li><li><a class="wiki_link" href="/Geoff%20Smith%20%28British%20musician%29">Geoff Smith</a> (b. 1966)</li><li><a class="wiki_link" href="/Yitzhak%20Yedid">Yitzhak Yedid</a> (b.1971)</li><li><a class="wiki_link" href="/Aphex%20Twin">Richard D. James</a> (b. 1971)</li><li><a class="wiki_link" href="/Adam%20Silverman">Adam Silverman</a> (b. 1973)</li><li><a class="wiki_link" href="/Yuri%20Landman">Yuri Landman</a> (b. 1973)</li><li><a class="wiki_link" href="/Kristoffer%20Zegers">Kristoffer Zegers</a> (b. 1973)</li><li><a class="wiki_link" href="/Gregg%20Rossetti">Gregg Rossetti</a> (b. 1982)</li></ul><br /> | <ul><li><a class="wiki_link" href="/Clarence%20Barlow">Clarence Barlow</a> (b. 1945)</li><li><a class="wiki_link" href="/G%C3%A9rard%20Grisey">Gérard Grisey</a> (1946–1998) (spectral approach to microintervals, quartertones, eighth tones)</li><li><a class="wiki_link" href="/Max%20M%C3%A9reaux">Max Méreaux</a> (b. 1946)</li><li><a class="wiki_link" href="/Tristan%20Murail">Tristan Murail</a> (b. 1947) (spectral approach to microintervals, quartertones, eighth tones)</li><li><a class="wiki_link" href="/Claude%20Vivier">Claude Vivier</a> (1948–1983)</li><li><a class="wiki_link" href="/Glenn%20Branca">Glenn Branca</a> (b. 1948)</li><li><a class="wiki_link" href="/Dean%20Drummond">Dean Drummond</a> (b. 1949) (Harry Partch's instruments currently in his possession)</li><li><a class="wiki_link" href="/Lasse%20Thoresen">Lasse Thoresen</a> (b. 1949)</li><li><a class="wiki_link" href="/Warren%20Burt">Warren Burt</a> (b. 1949)</li><li><a class="wiki_link" href="/Manfred%20Stahnke">Manfred Stahnke</a> (b. 1951)</li><li><a class="wiki_link" href="/Kraig%20Grady">Kraig Grady</a> (b. 1952) (invented acoustic instruments in just intonation &amp; recurrent sequences)</li><li><a class="wiki_link" href="/David%20First">David First</a> (b. 1953)</li><li><a class="wiki_link" href="/Georg%20Friedrich%20Haas">Georg Friedrich Haas</a> (b. 1953)</li><li><a class="wiki_link" href="/James%20Wood%20%28composer%29">James Wood</a> (b. 1953)</li><li><a class="wiki_link" href="/Paul%20Dirmeikis">Paul Dirmeikis</a> (b.1954)</li><li><a class="wiki_link" href="/Pascale%20Criton">Pascale Criton</a> (b. 1954) (different equal temperaments, most particularly very dense ETs such as the 96ET)</li><li><a class="wiki_link" href="/Stephen%20James%20Taylor">Stephen James Taylor</a> (b. 1954)</li><li><a class="wiki_link" href="/Kyle%20Gann">Kyle Gann</a> (b. 1955)</li><li><a class="wiki_link" href="/Pascal%20Dusapin">Pascal Dusapin</a> (b. 1955) (different equal temperaments, notably the 48ET)</li><li><a class="wiki_link" href="/Johnny%20Reinhard">Johnny Reinhard</a> (b. 1956) (different equal temperaments, just intonation, polymicrotonally)</li><li><a class="wiki_link" href="/Eric%20Mandat">Eric Mandat</a> (b. 1957)</li><li><a class="wiki_link" href="/Erling%20Wold">Erling Wold</a> (b. 1958)</li><li><a class="wiki_link" href="/Michael%20Bach%20%28cellist%2C%20composer%2C%20visual%20artist%29"> Michael Bach Bachtischa</a> (b. 1958)</li><li><a class="wiki_link" href="/Martin%20Smolka">Martin Smolka</a> (b. 1959)</li><li><a class="wiki_link" href="/Georg%20Hajdu">Georg Hajdu</a> (b. 1960)</li><li><a class="wiki_link" href="/William%20Susman">William Susman</a> (b. 1960)</li><li><a class="wiki_link" href="/Daniel%20James%20Wolf">Daniel James Wolf</a> (b. 1961)</li><li><a class="wiki_link" href="/Fran%C3%A7ois%20Paris">François Paris</a> (b.1961)</li><li><a class="wiki_link" href="/Rod%20Poole">Rod Poole</a> (b.1962 - d.2007)</li><li><a class="wiki_link" href="/Harold%20Fortuin">Harold Fortuin</a> (b. 1964)</li><li><a class="wiki_link" href="/Marc%20Sabat">Marc Sabat</a> (b. 1965)</li><li><a class="wiki_link" href="/Georges%20Lentz">Georges Lentz</a> (b. 1965)</li><li><a class="wiki_link" href="/Geoff%20Smith%20%28British%20musician%29">Geoff Smith</a> (b. 1966)</li><li><a class="wiki_link" href="/Yitzhak%20Yedid">Yitzhak Yedid</a> (b.1971)</li><li><a class="wiki_link" href="/Aphex%20Twin">Richard D. James</a> (b. 1971)</li><li><a class="wiki_link" href="/Adam%20Silverman">Adam Silverman</a> (b. 1973)</li><li><a class="wiki_link" href="/Yuri%20Landman">Yuri Landman</a> (b. 1973)</li><li><a class="wiki_link" href="/Kristoffer%20Zegers">Kristoffer Zegers</a> (b. 1973)</li><li><a class="wiki_link" href="/Gregg%20Rossetti">Gregg Rossetti</a> (b. 1982)</li></ul><br /> | ||
| Line 338: | Line 332: | ||
<ul><li><a class="wiki_link" href="/Christiaan%20Huygens">Christiaan Huygens</a> (1629–1695)</li><li><a class="wiki_link" href="/Juli%C3%A1n%20Carrillo">Julián Carrillo</a> (1875–1965)</li><li><a class="wiki_link" href="/Adriaan%20Dani%C3%ABl%20Fokker">Adriaan Daniël Fokker</a> (1887–1972)</li><li><a class="wiki_link" href="/Ivan%20Wyschnegradsky">Ivan Wyschnegradsky</a> (1893–1979)</li><li><a class="wiki_link" href="/Alois%20H%C3%A1ba">Alois Hába</a> (1893–1973)</li><li><a class="wiki_link" href="/Harry%20Partch">Harry Partch</a> (1901–1974)</li><li><a class="wiki_link" href="/Alain%20Dani%C3%A9lou">Alain Daniélou</a> (1907–1994)</li><li><a class="wiki_link" href="/Jean-Etienne%20Marie">Jean-Etienne Marie</a> (1917–1989)</li><li><a class="wiki_link" href="/Erv%20Wilson">Erv Wilson</a> (b. 1928)</li><li><a class="wiki_link" href="/Joel%20Mandelbaum">Joel Mandelbaum</a> (b. 1932)</li><li><a class="wiki_link" href="/James%20Tenney">James Tenney</a> (1934–2006)</li><li><a class="wiki_link" href="/Clarence%20Barlow">Clarence Barlow</a> (b. 1945)</li><li><a class="wiki_link" href="/Valeri%20Brainin">Valeri Brainin</a> (b. 1948)</li><li><a class="wiki_link" href="/Jacques%20Dudon">Jacques Dudon</a> (b. 1951)</li><li><a class="wiki_link" href="/William%20Sethares">William Sethares</a> (b. 1955)</li><li><a class="wiki_link" href="/Georg%20Hajdu">Georg Hajdu</a> (b. 1960)</li><li><a class="wiki_link" href="/Bob%20Gilmore">Bob Gilmore</a> (b. 1961)</li><li><a class="wiki_link" href="/Marc%20Sabat">Marc Sabat</a> (b. 1965)</li></ul><br /> | <ul><li><a class="wiki_link" href="/Christiaan%20Huygens">Christiaan Huygens</a> (1629–1695)</li><li><a class="wiki_link" href="/Juli%C3%A1n%20Carrillo">Julián Carrillo</a> (1875–1965)</li><li><a class="wiki_link" href="/Adriaan%20Dani%C3%ABl%20Fokker">Adriaan Daniël Fokker</a> (1887–1972)</li><li><a class="wiki_link" href="/Ivan%20Wyschnegradsky">Ivan Wyschnegradsky</a> (1893–1979)</li><li><a class="wiki_link" href="/Alois%20H%C3%A1ba">Alois Hába</a> (1893–1973)</li><li><a class="wiki_link" href="/Harry%20Partch">Harry Partch</a> (1901–1974)</li><li><a class="wiki_link" href="/Alain%20Dani%C3%A9lou">Alain Daniélou</a> (1907–1994)</li><li><a class="wiki_link" href="/Jean-Etienne%20Marie">Jean-Etienne Marie</a> (1917–1989)</li><li><a class="wiki_link" href="/Erv%20Wilson">Erv Wilson</a> (b. 1928)</li><li><a class="wiki_link" href="/Joel%20Mandelbaum">Joel Mandelbaum</a> (b. 1932)</li><li><a class="wiki_link" href="/James%20Tenney">James Tenney</a> (1934–2006)</li><li><a class="wiki_link" href="/Clarence%20Barlow">Clarence Barlow</a> (b. 1945)</li><li><a class="wiki_link" href="/Valeri%20Brainin">Valeri Brainin</a> (b. 1948)</li><li><a class="wiki_link" href="/Jacques%20Dudon">Jacques Dudon</a> (b. 1951)</li><li><a class="wiki_link" href="/William%20Sethares">William Sethares</a> (b. 1955)</li><li><a class="wiki_link" href="/Georg%20Hajdu">Georg Hajdu</a> (b. 1960)</li><li><a class="wiki_link" href="/Bob%20Gilmore">Bob Gilmore</a> (b. 1961)</li><li><a class="wiki_link" href="/Marc%20Sabat">Marc Sabat</a> (b. 1965)</li></ul><br /> | ||
<!-- ws:start:WikiTextHeadingRule:18:&lt;h1&gt; --><h1 id="toc9"><a name="References"></a><!-- ws:end:WikiTextHeadingRule:18 -->References</h1> | <!-- ws:start:WikiTextHeadingRule:18:&lt;h1&gt; --><h1 id="toc9"><a name="References"></a><!-- ws:end:WikiTextHeadingRule:18 -->References</h1> | ||
*<a class="wiki_link" href="/Pietro%20Aron">Aron, Pietro</a>, 1523. ''Thoscanello de la musica''. Venice: Bernardino et Mattheo de Vitali. Facsimile edition, Monuments of music and music literature in facsimile: Second series, Music literature 69. New York: Broude Brothers, 1969. Second edition, as ''Toscanello in musica ... nuovamente stampato con laggiunta da lui fatta et con diligentia corretto'', Venice: Bernardino &amp; Matheo de Vitali, 1529. Facsimile reprint, Bibliotheca musica Bononiensis, sezione 2., n. 10. Bologna: Forni Editori, 1969. [<!-- ws:start:WikiTextUrlRule: | *<a class="wiki_link" href="/Pietro%20Aron">Aron, Pietro</a>, 1523. ''Thoscanello de la musica''. Venice: Bernardino et Mattheo de Vitali. Facsimile edition, Monuments of music and music literature in facsimile: Second series, Music literature 69. New York: Broude Brothers, 1969. Second edition, as ''Toscanello in musica ... nuovamente stampato con laggiunta da lui fatta et con diligentia corretto'', Venice: Bernardino &amp; Matheo de Vitali, 1529. Facsimile reprint, Bibliotheca musica Bononiensis, sezione 2., n. 10. Bologna: Forni Editori, 1969. [<!-- ws:start:WikiTextUrlRule:685:http://euromusicology.cs.uu.nl:6334/dynaweb/tmiweb/a/aartos/@Generic --><a class="wiki_link_ext" href="http://euromusicology.cs.uu.nl:6334/dynaweb/tmiweb/a/aartos/@Generic" rel="nofollow">http://euromusicology.cs.uu.nl:6334/dynaweb/tmiweb/a/aartos/@Generic</a><!-- ws:end:WikiTextUrlRule:685 -->__BookView;cs=default;ts=default Online edition of the 1529 text] <tt>it icon</tt>. Third edition, as ''Toscanello in musica'', Venice: Marchio Stessa, 1539. Facsimile edition, edited by Georg Frey. Kassel: Bärenreiter, 1970. Fourth edition, Venice, 1562. English edition, as ''Toscanello in music'', translated by Peter Bergquist. 3 vols. Colorado College Music Press Translations, no. 4. Colorado Springs: Colorado College Music Press, 1970.<br /> | ||
*Barbieri, Patrizio. 1989. &quot;An Unknown 15th-Century French Manuscript on Organ Building and Tuning&quot;. ''The Organ Yearbook: A Journal for the Players &amp; Historians of Keyboard Instruments'' 20.<br /> | *Barbieri, Patrizio. 1989. &quot;An Unknown 15th-Century French Manuscript on Organ Building and Tuning&quot;. ''The Organ Yearbook: A Journal for the Players &amp; Historians of Keyboard Instruments'' 20.<br /> | ||
*Barbieri, Patrizio. 2002. &quot;The Evolution of Open-Chain Enharmonic Keyboards c1480–1650&quot;. In ''Chromatische und enharmonische Musik und Musikinstrumente des 16. und 17. Jahrhunderts/Chromatic and Enharmonic Music and Musical Instruments in the 16th and 17th Centuries''. Schweizer Jahrbuch für Musikwissenschaft/Annales suisses de musicologie/Annuario svizzero di musicologia 22, edited by Joseph Willimann. Bern: Verlag Peter Lang AG. ISBN 3039100882<br /> | *Barbieri, Patrizio. 2002. &quot;The Evolution of Open-Chain Enharmonic Keyboards c1480–1650&quot;. In ''Chromatische und enharmonische Musik und Musikinstrumente des 16. und 17. Jahrhunderts/Chromatic and Enharmonic Music and Musical Instruments in the 16th and 17th Centuries''. Schweizer Jahrbuch für Musikwissenschaft/Annales suisses de musicologie/Annuario svizzero di musicologia 22, edited by Joseph Willimann. Bern: Verlag Peter Lang AG. ISBN 3039100882<br /> | ||
*Barbieri, Patrizio. 2003. &quot;Temperaments, Historical&quot;. In ''Piano: An Encyclopedia'', second edition, edited by Robert Palmieri and Margaret W. Palmieri. New York: Routledge.<br /> | *Barbieri, Patrizio. 2003. &quot;Temperaments, Historical&quot;. In ''Piano: An Encyclopedia'', second edition, edited by Robert Palmieri and Margaret W. Palmieri. New York: Routledge.<br /> | ||
*Barbieri, Patrizio. 2008. ''[<!-- ws:start:WikiTextUrlRule: | *Barbieri, Patrizio. 2008. ''[<!-- ws:start:WikiTextUrlRule:686:http://www.patriziobarbieri.it/1.htm --><a class="wiki_link_ext" href="http://www.patriziobarbieri.it/1.htm" rel="nofollow">http://www.patriziobarbieri.it/1.htm</a><!-- ws:end:WikiTextUrlRule:686 --> Enharmonic instruments and music, 1470-1900]''. Latina: Il Levante Libreria Editrice. ISBN 978-88-95203-14-0<br /> | ||
*Barbieri, Patrizio, Alessandro Barca, and conte Giordano Riccati. 1987. ''Acustica accordatura e temperamento nell'illuminismo Veneto''. Pubblicazioni del Corso superiore di paleografia e semiografia musicale dall'umanesimo al barocco, Serie I: Studi e testi 5; Pubblicazioni del Corso superiore di paleografia e semiografia musicale dall'umanesimo al barocco, Documenti 2. Rome: Edizioni Torre d'Orfeo.<br /> | *Barbieri, Patrizio, Alessandro Barca, and conte Giordano Riccati. 1987. ''Acustica accordatura e temperamento nell'illuminismo Veneto''. Pubblicazioni del Corso superiore di paleografia e semiografia musicale dall'umanesimo al barocco, Serie I: Studi e testi 5; Pubblicazioni del Corso superiore di paleografia e semiografia musicale dall'umanesimo al barocco, Documenti 2. Rome: Edizioni Torre d'Orfeo.<br /> | ||
*Barbieri, Patrizio, and Lindoro Massimo del Duca. 2001. &quot;Late-Renaissance Quarter-tone Compositions (1555-1618): The Performance of the ETS-31 with a DSP System&quot;. In ''Musical Sounds from Past Millennia: Proceedings of the International Symposium on Musical Acoustics 2001'', edited by Diego L. González, Domenico Stanzial, and Davide Bonsi. 2 vols. Venice: Fondazione Giorgio Cini.<br /> | *Barbieri, Patrizio, and Lindoro Massimo del Duca. 2001. &quot;Late-Renaissance Quarter-tone Compositions (1555-1618): The Performance of the ETS-31 with a DSP System&quot;. In ''Musical Sounds from Past Millennia: Proceedings of the International Symposium on Musical Acoustics 2001'', edited by Diego L. González, Domenico Stanzial, and Davide Bonsi. 2 vols. Venice: Fondazione Giorgio Cini.<br /> | ||
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*Boatwright, Howard. 1971. &quot;Ives' Quarter-Tone Impressions&quot;. In ''Perspectives on American Composers'', edited by Benjamin Boretz and Edward T. Cone, 3–12. Princeton: Princeton University Press.<br /> | *Boatwright, Howard. 1971. &quot;Ives' Quarter-Tone Impressions&quot;. In ''Perspectives on American Composers'', edited by Benjamin Boretz and Edward T. Cone, 3–12. Princeton: Princeton University Press.<br /> | ||
*Burns, Edward M. 1999. &quot;Intervals, Scales, and Tuning.&quot; In ''The Psychology of Music'', second edition, ed. Diana Deutsch. 215–64. San Diego: Academic Press. ISBN 0-12-213564-4.<br /> | *Burns, Edward M. 1999. &quot;Intervals, Scales, and Tuning.&quot; In ''The Psychology of Music'', second edition, ed. Diana Deutsch. 215–64. San Diego: Academic Press. ISBN 0-12-213564-4.<br /> | ||
*<a class="wiki_link" href="/Wendy%20Carlos">Carlos, Wendy</a>. 1989–96. &quot;[<!-- ws:start:WikiTextUrlRule: | *<a class="wiki_link" href="/Wendy%20Carlos">Carlos, Wendy</a>. 1989–96. &quot;[<!-- ws:start:WikiTextUrlRule:687:http://www.wendycarlos.com/resources/pitch.html --><a class="wiki_link_ext" href="http://www.wendycarlos.com/resources/pitch.html" rel="nofollow">http://www.wendycarlos.com/resources/pitch.html</a><!-- ws:end:WikiTextUrlRule:687 --> Three Asymmetric Divisions of the Octave]&quot;. ''[<!-- ws:start:WikiTextUrlRule:688:http://www.wendycarlos.com --><a class="wiki_link_ext" href="http://www.wendycarlos.com" rel="nofollow">http://www.wendycarlos.com</a><!-- ws:end:WikiTextUrlRule:688 --> wendycarlos.com]'' (Accessed March 28, 2009).<br /> | ||
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*Dumbrill, Richard J. 2000. ''The Musicology and Organology of the Ancient Near East'', second edition. London: Tadema Press. ISBN 0953363309<br /> | *Dumbrill, Richard J. 2000. ''The Musicology and Organology of the Ancient Near East'', second edition. London: Tadema Press. ISBN 0953363309<br /> | ||
*<a class="wiki_link" href="/Alexander%20John%20Ellis">Ellis, Alexander J</a>. 1884. &quot;Tonometrical Observations on Some Existing Non-Harmonic Musical Scales&quot;. ''Proceedings of the Royal Society of London'' 37:368–85.<br /> | *<a class="wiki_link" href="/Alexander%20John%20Ellis">Ellis, Alexander J</a>. 1884. &quot;Tonometrical Observations on Some Existing Non-Harmonic Musical Scales&quot;. ''Proceedings of the Royal Society of London'' 37:368–85.<br /> | ||
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*Jedrzejewski, Franck. 2003. ''Dictionnaire des musiques microtonales'' [Dictionary of Microtonal Musics]. Paris: L'Harmattan. ISBN 2-7475-5576-3.<br /> | *Jedrzejewski, Franck. 2003. ''Dictionnaire des musiques microtonales'' [Dictionary of Microtonal Musics]. Paris: L'Harmattan. ISBN 2-7475-5576-3.<br /> | ||
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<!-- ws:start:WikiTextHeadingRule:20:&lt;h1&gt; --><h1 id="toc10"><a name="External links"></a><!-- ws:end:WikiTextHeadingRule:20 -->External links</h1> | <!-- ws:start:WikiTextHeadingRule:20:&lt;h1&gt; --><h1 id="toc10"><a name="External links"></a><!-- ws:end:WikiTextHeadingRule:20 -->External links</h1> | ||
<ul><li>Aikin, Jim. 2003. [<!-- ws:start:WikiTextUrlRule: | <ul><li>Aikin, Jim. 2003. [<!-- ws:start:WikiTextUrlRule:697:http://emusician.com/tutorials/emusic_playing_cracks/ --><a class="wiki_link_ext" href="http://emusician.com/tutorials/emusic_playing_cracks/" rel="nofollow">http://emusician.com/tutorials/emusic_playing_cracks/</a><!-- ws:end:WikiTextUrlRule:697 --> Jim Aikin's article on alternative tuning in electronic music]</li><li>Anon. [n.d.]. &quot;[<!-- ws:start:WikiTextUrlRule:698:http://www.hoasm.org/IVO/Vicentino.html --><a class="wiki_link_ext" href="http://www.hoasm.org/IVO/Vicentino.html" rel="nofollow">http://www.hoasm.org/IVO/Vicentino.html</a><!-- ws:end:WikiTextUrlRule:698 --> Nicola Vicentino (1511–1576)]&quot;. IVO: Sacred Music in the Italian Cinquecento outside Venice and Rome, edited by Chris Whent. Here Of A Sunday Morning website. (Accessed 19 August 2008)</li><li>Chalmers, John. [<!-- ws:start:WikiTextUrlRule:699:http://eamusic.dartmouth.edu/~larry/published_articles/divisions_of_the_tetrachord/index.html --><a class="wiki_link_ext" href="http://eamusic.dartmouth.edu/~larry/published_articles/divisions_of_the_tetrachord/index.html" rel="nofollow">http://eamusic.dartmouth.edu/~larry/published_articles/divisions_of_the_tetrachord/index.html</a><!-- ws:end:WikiTextUrlRule:699 --> Dr. John Chalmers Divisions of the Tetrachord]</li><li>Loli, Charles. 2008. &quot; [<!-- ws:start:WikiTextUrlRule:700:http://microtonalismo.com --><a class="wiki_link_ext" href="http://microtonalismo.com" rel="nofollow">http://microtonalismo.com</a><!-- ws:end:WikiTextUrlRule:700 --> Microtonalismo]&quot;. (Article on alternative tuning in Peruvian music)</li><li><a class="wiki_link" href="/Open%20Directory%20Project">Open Directory Project</a> [n.d.] [<!-- ws:start:WikiTextUrlRule:701:http://search.dmoz.org/cgi-bin/search?search=microtonal+music --><a class="wiki_link_ext" href="http://search.dmoz.org/cgi-bin/search?search=microtonal+music" rel="nofollow">http://search.dmoz.org/cgi-bin/search?search=microtonal+music</a><!-- ws:end:WikiTextUrlRule:701 --> Microtonal Music]</li><li>Solís Winkler, Ernesto. 2004. &quot;[<!-- ws:start:WikiTextUrlRule:702:http://paginas.tol.itesm.mx/campus/L00280370/carrillo.html --><a class="wiki_link_ext" href="http://paginas.tol.itesm.mx/campus/L00280370/carrillo.html" rel="nofollow">http://paginas.tol.itesm.mx/campus/L00280370/carrillo.html</a><!-- ws:end:WikiTextUrlRule:702 --> Julian Carrillo and the 13th Sound: A Microtonal Musical System]&quot;. (Accessed 19 August 2008)</li></ul>*<a class="wiki_link" href="/Erv%20Wilson">Wilson, Erv</a>. &quot;[<!-- ws:start:WikiTextUrlRule:703:http://anaphoria.com/wilson.html --><a class="wiki_link_ext" href="http://anaphoria.com/wilson.html" rel="nofollow">http://anaphoria.com/wilson.html</a><!-- ws:end:WikiTextUrlRule:703 --> Wilson Archives of papers on microtonal theory]&quot;<br /> | ||
<ul><li>[<!-- ws:start:WikiTextUrlRule: | <ul><li>[<!-- ws:start:WikiTextUrlRule:704:http://xenharmonic.wikispaces.com/MicrotonalListeningList --><a href="http://xenharmonic.wikispaces.com/MicrotonalListeningList">http://xenharmonic.wikispaces.com/MicrotonalListeningList</a><!-- ws:end:WikiTextUrlRule:704 --> Links to microtonal composers] at <a class="wiki_link" href="/Xenharmonic">Xenharmonic</a> Wiki</li><li>[<!-- ws:start:WikiTextUrlRule:705:http://xenharmonic.wikispaces.com/Projects --><a href="http://xenharmonic.wikispaces.com/Projects">http://xenharmonic.wikispaces.com/Projects</a><!-- ws:end:WikiTextUrlRule:705 --> Links to microtonal projects around the world] at <a class="wiki_link" href="/Xenharmonic">Xenharmonic</a> Wiki</li></ul></body></html></pre></div> | ||