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Microtonal music is made of notes "between the cracks" on an ordinary instrument. On a piano, for example, each octave is (theoretically) divided into twelve equal semi-tones or half-steps. This system of tuning is called twelve-tone equal temperament because the intervals between the twelve tones are equal, and it represents a tempering of the Pythagorean scale, created by superimposing the 3:2 frequency intervals found among the natural harmonics produced by any object vibrating with a definable pitch. All the intervals in this ancient scale are not equal, so they are tempered (their tuning is changed slightly) to create twleve-tone equal temperament. Older systems of temperament "averaged out" the Pythagorean scale in other ways. Temperament is a problem that musicians and theorists have confronted for centuries.

"Microtonal" is a blanket term. It denotes any system of temperament, tuning or music that deviates from twelve-tone equal temperament. Notable composers of microtonal music include Harry Partch, Ivor Darreg, Ben Johnston, Lou Harrison, LaMonte Young, Terry Riley and Pauline Oliveros. Some microtonalists compose music for instruments "detuned" according to Just intonation, which contains only intervals with fundamental frequencies in low-number or prime ratios. Some apply other equal divisions to the octave e.g. 19tET (nineteen-tone equal temperament) and 53tET to name two. And some create music based on the theoretical non-division of the octave.

Some composers of microtonal music make their own instruments. Harry Partch earned his place as a modern pioneer building instruments on which to perform his music and writing a book describing his system. He designed and built the instrument above, called a Boo (it is made of bamboo), and the one at right, called Cloud Chamber Bowls. Ben Johnston is known for piano pieces specifying that the piano be "detuned" according to very precise instructions. Pauline Oliveros plays a "detuned" accordion. With the advent of electronic instruments, composers are able to create "detuned" scales with greater ease and accuracy.

Some of my music is microtonal. I use computer programs, synthesizers and samplers that can realize exact tuning specifications. I developed a system of relating pitches to one another, based on relationships between the harmonics of any naturally-occurring, pitched sound. My dissertation is composed according to this system, and there is a paper (in dire need of being updated in light of new deveopments) that explains it: "Ratiotonic Temperament: A Proposal for the Organization of Tones in Art Music as a 'Microtonal' Alternative to Twelve-Tone Equal Temperament." Read it here, read a more contemporary and scholarly presentation of it here, and feel free to e-mail me.





Inside
the next they break open

that mud-hive, that gas-sponge,

over the dark water


that reeking


And there you are



leaf-yard, that rippling



on the shore,

dream-bowl, the leeches'


fitful and thoughtful, trying

flecked and swirling

to attach them to an idea--


broth of life as rich


some news of your own life.



as Babylon,



But the lilies

the fists crack


are slippery and wild--they are

open and the wands

devoid of meaning, they are


of the lilies


simply doing,



quicken, they rise



from the deepest

like pale poles


spurs of their being,

with their wrapped beaks of lace;

what they are impelled to do


one day


every summer.



the tear the surface,



And so, dear sorrow, are you.









Mary Oliver,








Lilies Break Open Over the Dark Water

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