Microtonality - Philosophical Concept | Alexandria
Microtonality, that enigmatic realm beyond the familiar landscape of standard Western music, refers to any system of tuning and intonation that utilizes intervals smaller than the conventional semitone. It challenges the long-held assumption that the 12-tone equal temperament represents the ultimate division of the octave, suggesting a universe of sonic possibilities previously unexplored by mainstream musical practice.
While inklings of microtonal thinking can be traced back to ancient Greek theorists like Aristoxenus who explored divisions of the tetrachord, rigorous historical documentation is scarce. Boethius, around 500 AD, in his "De institutione musica," discussed earlier Greek systems that ventured beyond the whole tone. However, these early explorations lacked a unified mathematical framework. The real emergence of microtonality as a conscious musical aesthetic did not occur until the late 19th and early 20th centuries, a period of artistic upheaval where the foundations of established musical traditions were intensely scrutinized.
Thinkers and composers such as Ferruccio Busoni, in his "Sketch of a New Aesthetic of Music" (1907), dared to question the limitations of the 12-tone system. Later, figures like Julian Carrillo experimented extensively with quarter tones, eighth tones, and even much finer microtonal divisions, driven by a desire to liberate music from the perceived constraints of traditional harmony and melody. Alois Haba went even further, developing notational systems and building instruments specifically adapted to microtonal music and promoted the "atonal" music cause in pre-World War II Czechoslovakia. The impact of these innovations extended beyond the realm of academic music, piquing the interest of instrument builders, ethnomusicologists, and even electronic music pioneers who saw the potential of microtonality to expand the sonic palette of their respective fields.
Today, microtonality continues to fascinate and challenge musicians. The rise of electronic instruments and computer-based music production tools has made the creation and performance of microtonal music more accessible. Composers draw inspiration from diverse sources, from the complex tuning systems of non-Western musical traditions to the mathematical elegance of just intonation. Can the exploration of these minute sonic gradations lead to entirely new forms of musical expression, or does the human ear ultimately prefer the familiar comforts of conventional harmony? Microtonality stands as a testament to human curiosity, a siren song beckoning us to explore the uncharted territories of sound.