Microtonal music can refer to any music containing microtones. The words "microtone" and "microtonal" were coined before 1912 by Maud MacCarthy Mann in order to avoid the misnomer "quarter tone" when speaking of the srutis of Indian music.[2] Prior to this time the term "quarter tone" was used, confusingly, not only for an interval actually half the size of a semitone, but also for all intervals (considerably) smaller than a semitone.[3][4] It may have been even slightly earlier, perhaps as early as 1895, that the Mexican composer Julin Carrillo, writing in Spanish or French, coined the terms microtono/micro-ton and microtonalismo/micro-tonalit.[5]
In French, the usual term is the somewhat more self-explanatory micro-intervalle, and French sources give the equivalent German and English terms as Mikrointervall (or Kleinintervall) and micro interval (or microtone), respectively.[6][7][8][9] "Microinterval" is a frequent alternative in English, especially in translations of writings by French authors and in discussion of music by French composers.[10][11][12] In English, the two terms "microtone" and "microinterval" are synonymous.[13] The English analogue of the related French term, micro-intervalit, however, is rare or nonexistent, normally being translated as "microtonality"; in French, the terms micro-ton, microtonal (or micro-tonal), and microtonalit are also sometimes used, occasionally mixed in the same passage with micro-intervale and micro-intervalit.[5][14][15][16]
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Ezra Sims, in the article "Microtone" in the second edition of the Harvard Dictionary of Music defines "microtone" as "an interval smaller than a semitone",[17] which corresponds with Aristoxenus's use of the term diesis.[18] However, the unsigned article "Comma, Schisma" in the same reference source calls comma, schisma, and diaschisma "microintervals" but not "microtones",[19] and in the fourth edition of the same reference (which retains Sims's article on "Microtone") a new "Comma, Schisma" article by Andr Barbera calls them simply "intervals".[20] In the second edition of The New Grove Dictionary of Music and Musicians, Paul Griffiths, Mark Lindley, and Ioannis Zannos define "microtone" as a musical rather than an acoustical entity: "any musical interval or difference of pitch distinctly smaller than a semitone", including "the tiny enharmonic melodic intervals of ancient Greece, the several divisions of the octave into more than 12 parts, and various discrepancies among the intervals of just intonation or between a sharp and its enharmonically paired flat in various forms of mean-tone temperament", as well as the Indian sruti, and small intervals used in Byzantine chant, Arabic music theory from the 10th century onward, and similarly for Persian traditional music and Turkish music and various other Near Eastern musical traditions,[21] but do not actually name the "mathematical" terms schisma, comma, and diaschisma.
"Microtone" is also sometimes used to refer to individual notes, "microtonal pitches" added to and distinct from the familiar twelve notes of the chromatic scale,[22] as "enharmonic microtones",[23] for example.
The term "microtonal music" usually refers to music containing very small intervals but can include any tuning that differs from Western twelve-tone equal temperament. Traditional Indian systems of 22 ruti; Indonesian gamelan music; Thai, Burmese, and African music, and music using just intonation, meantone temperament or other alternative tunings may be considered microtonal.[32][21] Microtonal variation of intervals is standard practice in the African-American musical forms of spirituals, blues, and jazz.[33]
Terminology other than "microtonal" has been used or proposed by some theorists and composers. In 1914, A. H. Fox Strangways objected that "'heterotone' would be a better name for ruti than the usual translation 'microtone'".[34] Modern Indian researchers yet write: "microtonal intervals called shrutis".[35] In Germany, Austria, and Czechoslovakia in the 1910s and 1920s the usual term continued to be Viertelton-Musik (quarter tone music[36][page needed]), and the type of intervallic structure found in such music was called the Vierteltonsystem,[37][38] which was (in the mentioned region) regarded as the main term for referring to music with microintervals, though as early as 1908 Georg Capellan had qualified his use of "quarter tone" with the alternative term "Bruchtonstufen (Viertel- und Dritteltne)" (fractional degrees (quarter and third tones)).[39] Despite the inclusion of other fractions of a whole tone, this music continued to be described under the heading "Vierteltonmusik" until at least the 1990s, for example in the twelfth edition of the Riemann Musiklexikon,[40] and in the second edition of the popular Brockhaus Riemann Musiklexikon.[41]
The term "macrotonal" has been used for intervals wider than twelve-tone equal temperament,[74][better source needed] or where there are "fewer than twelve notes per octave", though "this term is not very satisfactory and is used only because there seems to be no other".[75] The term "macrotonal" has also been used for musical form.[76]
The Hellenic civilizations of ancient Greece left fragmentary records of their music, such as the Delphic Hymns. The ancient Greeks approached the creation of different musical intervals and modes by dividing and combining tetrachords, recognizing three genera of tetrachords: the enharmonic, the chromatic, and the diatonic. Ancient Greek intervals were of many different sizes, including microtones. The enharmonic genus in particular featured intervals of a distinctly "microtonal" nature, which were sometimes smaller than 50 cents, less than half of the contemporary Western semitone of 100 cents. In the ancient Greek enharmonic genus, the tetrachord contained a semitone of varying sizes (approximately 100 cents) divided into two equal intervals called dieses (single "diesis", ); in conjunction with a larger interval of roughly 400 cents, these intervals comprised the perfect fourth (approximately 498 cents, or the ratio of 4/3 in just intonation).[78] Theoretics usually described several diatonic and chromatic genera (some as chroai, "coloration" of one specific intervallic type), but the enarmonic genus was always the only one (argumented as one with the smallest intervals possible).
Guillaume Costeley's "Chromatic Chanson", "Seigneur Dieu ta piti" of 1558 used 1/3 comma meantone (which almost exactly equals 19 equal temperament) and explored the full compass of 19 pitches in the octave.[79]
In 1760 the French flautist Charles de Lusse [de] published a treatise, L'Art de la flute traversiere, all surviving copies of which conclude with a composition (possibly added a year or two after the actual publication of the volume) incorporating several quarter tones, titled Air la grecque, accompanied by explanatory notes tying it to the realization of the Greek enharmonic genus and a chart of quarter tone fingerings for the entire range of the one-keyed flute. Shortly afterward, in a letter published in the Mercure de France in September 1764, the celebrated flautist Pierre-Gabriel Buffardin mentioned this piece and expressed an interest in quarter tones for the flute.[81][82]
Jacques Fromental Halvy composed a cantata "Promthe enchan" for a solo voice, choir and orchestra (premiered in 1849), where in one movement (Choeur des Ocanides) he used quarter tones, to imitate the enharmonic genus of Greeks.
Alexander John Ellis, who in the 1880s produced a translation of Hermann Helmholtz's On the Sensations of Tone, proposed an elaborate set of exotic just intonation tunings and non-harmonic tunings.[83] Ellis also studied the tunings of non-Western cultures and, in a report to the Royal Society, stated that they used neither equal divisions of the octave nor just intonation intervals.[84] Ellis inspired Harry Partch immensely.[85]
During the Exposition Universelle of 1889, Claude Debussy heard a Balinese gamelan performance and was exposed to non-Western tunings and rhythms. Some scholars have ascribed Debussy's subsequent innovative use of the whole-tone (six equal pitches per octave) tuning in such compositions as the Fantaisie for piano and orchestra and the Toccata from the suite Pour le piano to his exposure to the Balinese gamelan at the Paris exposition,[86] and have asserted his rebellion at this time "against the rule of equal temperament" and that the gamelan gave him "the confidence to embark (after the 1900 world exhibition) on his fully characteristic mature piano works, with their many bell- and gong-like sonorities and brilliant exploitation of the piano's natural resonance".[87] Still others have argued that Debussy's works like L'isle joyeuse, La cathdrale engloutie, Prlude l'aprs-midi d'un faune, La mer, Pagodes, Danseuses de Delphes, and Cloches travers les feuilles are marked by a more basic interest in the microtonal intervals found between the higher members of the overtone series, under the influence of Helmholtz's writings.[88] Emil Berliner's introduction of the phonograph in the 1890s allowed much non-Western music to be recorded and heard by Western composers, further spurring the use of non-12-equal tunings.[citation needed]
Prominent microtonal composers or researchers of the 1940s and 1950s include Adriaan Daniel Fokker (31 equal tones per octave), Partch (continuing to build his handcrafted orchestra of microtonal just intonation instruments), and Eivind Groven.
In 1986, Wendy Carlos experimented with many microtonal systems including just intonation, using alternate tuning scales she invented for the album Beauty In the Beast. "This whole formal discovery came a few weeks after I had completed the album, Beauty in the Beast, which is wholly in new tunings and timbres".[94] 152ee80cbc
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