Abstrakt The history of microtonal music has largely been defined by the creation of closed and self-sufficient musical languages based on systematic derivations from axiomatic principles: for example, Harry Partch’s extended just intonation or Ivan Wyschnegradsky’s cyclical approach to microtonal equal temperaments. However, contemporary microtonal composers such as Manfred Stahnke and Georg Friedrich Haas often create hybrid microtonalities that combine apparently incompatible theories within a single musical work. Various strains of hybrid microtonality are explored through short analytical studies of the author’s own compositions, focusing principally on the combination of principles of extended just intonation with various equal temperaments splitting the octave into twelve, nineteen, or twenty-four steps.
2020/11
Robert Hasegawa:
Composing With Hybrid Microtonalities
Stati a studie / Živá hudba 2020/11 / Publikováno 7. 6. 2021
Citace:
Robert Hasegawa. Composing With Hybrid Microtonalities. Živá hudba 2020/11. On-line <https://ziva-hudba.info/hybrid-microtonalities/> [22. 12. 2024].
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