![]() Note that it is possible for a composition to be composed entirely of intervals that would ordinarily be considered ‘microtonal’ without sounding particularly unusual or ‘xenharmonic’ an example is Joe Monzo's 19-tone Samba other examples would be Renaissance, Baroque and Classical music performed in historically correct temperaments. Darreg used it to refer to any non-12-edo (microtonal) scales, which presented strange and wonderful new intervals and sonic worlds to explore he chose “xen” because its connotation in ancient Greek is that the stranger is to be welcomed as a guest, eventually to become more familiar, and ultimately to become a close friend. ![]() Joe Monzo wrote:A term coined by Ivor Darreg from the Greek words for “strange harmonic”. Joe Monzo's definition of the word ‘xenharmonic’ is below. candidate and a graduate research fellow at the University of Utah.If you've made it here, welcome to the microtonal/xenharmonic music topic! (note for st: it's in timac cause i like making this stuff) Discuss anything related to microtonal/xenharmonic music here. His scholarly works focus on the intersection of music theory, perception and cognition and have been presented/published in Basic and Clinical Neuroscience, OpenWest, and MOXsonic, among others. His music has been described as “among the best Utah has to offer.” He has composed instrumental, electroacoustic, and creative multimedia pieces that have been commissioned and/or presented by the Ukraine National Symphony Orchestra, American Creator Ensemble, Persian New Music Ensemble, New York City Electroacoustic Music Festival (NYCEMF), Oregon Bach Festival (OBSCF), Utah Philharmonia, Fry Street String Quartet, Nova Chamber Ensemble, Next Ensemble, VU Symposium, Salty Cricket, and SLC Library, among others. 1986) is a composer, conductor, performer, and scholar currently residing in Salt Lake City. In the end, I will propose a post-tonal music composition course syllabus that includes microtonal writing as a topic.Īshkan Tabatabaie (b. I will play some original and non-original technology-assisted microtonal excerpts and performances to back up the successful method of these technologies. Second, I will demonstrate the use of newly emerged technologies and techniques for the performance of microtonal music. I propose to address these two factors in my presentation first by presenting a brief exploration of the new trends in microtonal composition and their relations to the acoustics of sound, tuning systems, and transcultural music exploration. I believe this lack of exploration is twofold: 1) unfamiliarity of the composition instructors with the microtonal music literature, and 2) the risk factor associated with the performance of microtonal projects written by the students in a composition course. Including Microtonal Writing Techniques and Technology Assisted Performance Practice in Post-tonal Composition Syllabiĭespite a long history of implementation and an ample number of successful compositions and performances, techniques for microtonal music writing do not claim a definite place in the regular syllabi of post-tonal composition. ![]() Tabatabie PhD Candidate, University of Utah
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |