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Microtonal music - compositional philosophy, acoustic structure, and production techniques after the dissolution of temperament
Text: mmr｜Theme: About the shift to a production philosophy that does not assume a fixed pitch
Microtonal music has not only questioned the premise of modern music of equal temperament, but has also transformed the unit of thought in music production itself. In this paper, we do not separate the history of musical temperament, theory, acoustic structure, and production practice, but reconstruct them as interconnected movements.
1. Temperament is not a rule but an idea.
12 Equal Temperament is more of an established industrial standard for production and distribution than music theory. This is a response to demands for greater freedom in modulation, mass production of keyboard instruments, and standardization of education, and is not an optimal acoustic solution.
The problem with microtonal music is not the numerical value of ““fineness than a semitone’’; This is the very idea of treating pitch as a fixed unit.
Pitch is originally a relative concept defined by frequency ratio, harmonic relationship, and physical perception. 12 Equal Temperament is only a temporary frozen state.
2. Non-temperamental intervals were not marginal.
Subdivision of intervals is no exception in pre-modern, non-Western music.
- Pitch is functionally variable in maqam, an Arabic music
- In Indian classical music, shruti is inseparable from melodic decoration.
- In the gamelan of Southeast Asia, there are subtle differences in pitch even within the same group of instruments.
Rather than “microtones,” these are musical cultures in which equal temperament fixation does not exist.
Modern Western music history did not eliminate these things, but rather did not theorize them.
3. Limitations of equal temperament that became apparent at the end of the 19th century
In the latter half of the 19th century, the following problems emerged as harmonies became bloated and chromatic diction became commonplace.
- Genuine 3rd and 6th degree acoustic turbidity
- Homogenization of harmonic color
- Dilution of tonality sense
Many composers turned to atonal and twelve-tone techniques, but In another lineage, ““redivision of intervals’’ itself was selected.
4. Trends in microtonal theory in the early 20th century
4.1 Extension of equal pitch scale
24EDO, 31EDO, 19EDO, etc. are methods of increasing the number of divisions while maintaining the logic of equal temperament.
- Relatively easy to transfer to notation and education
- Expandable harmonic functions
- Limited acoustic purity
4.2 Just intonation re-evaluation
Just intonation uses interval ratios based on harmonic series.
- High clarity of consonance interval
- Modulation structure is limited
- Difficult to understand theory and implementation
This choice transforms the music from a ““transposable structure” to a ““local acoustic structure.”
5. Harry Partch - Reintegration of temperament, instrument, and body
Harry Partch’s importance lies in the fact that he constructed microtonal music as an ““ecosystem” rather than a ““composition technique.”
5.1 Structure of 43-tone just intonation
Partch divided the octave into 43 pitches, This is not an equal division, but a network structure of overtone ratios.
- Prefer simple integer ratio
- Tonal sense exists, but transposition is not possible
- Interval relationships can be visualized geometrically
5.2 Necessity of musical instrument design
Because existing musical instruments have a built-in temperament concept, New temperaments require new instruments.
Partch’s instruments had the following roles:
- Visualization of interval structure *Direct engraving on the performer’s body
- Inseparability of theory and practice
5.3 Physicality, language, and pitch
Partch incorporates recitation and physical movements, He treated pitch as an ““extension of vocalization and physical movement’’ rather than an abstract numerical value.
This is an attempt to bring microtonal music back to the dimension of perceptual psychology.
6. The ideological device of musical notation
In microtonal music, notation is not just a means of communication.
- Additional accidentals
- Ratio notation
- Numerical specification
- Unique symbol system
Which method to choose? This is directly connected to the ideological selection of how you want the pitch to be understood.
7. A decisive shift brought about by electronic music
Electronic music transforms microtonality from “theoretical possibility” to Changed to Production Choice.
- Frequency can be specified directly
- Immediate modification of tuning tables
- Free from keyboard layout
As a result, temperament became a variable parameter rather than a fixed premise.
8. Acoustic analysis: phenomena produced by microtones
8.1 Beating and phase interference
Small pitch differences cause the following:
- Manifestation of beat frequency
- Fluctuation of sound image
- Spatial diffusion
This is not noise, but can be used as an audible structural element.
8.2 Rearrangement of overtone array
In just intonation, the overtones are aligned, so
- Increased clarity of chords
- Reduced frequency band interference
- EQ load changes during mix
This requires a different mixing strategy than equal tempered harmony.
9. Jacob Collier - Sensualization of temperament theory
Jacob Collier presented microtonal theory in a way that makes you feel rather than make you understand.
9.1 Practical application of overtone series
- Use of genuine thirds and sevenths
- Fixed pitch due to vocal multiplexing
- Enhancement of emotional contour of harmony
9.2 Coexistence with pop structure
Collier features: The point is not to make microtonal elements the theme of the song structure.
- The form is traditional
- Temperament changes internally
- Listeners accept the discomfort without theorizing it
10. Production techniques: practical approach
10.1 Composition Design
- Deciding which temperament to use
- Understand the range of possible harmonies
- Examination of whether modulation is possible or not
10.2 DAW implementation
*Uses Scala file
- Tuning by MIDI note
- Pitch bend resolution setting
10.3 Mix Strategy
- Visualization of microtonal bands
- Check monaural tolerance
- Stricter phase management
11. Psychoaudiology and perceptual reeducation
Microtonal music retrains your hearing.
- Redefinition of consonance and dissonance
- Fluctuations in tonal sense
- Calling attention to pitch
This is established not through intellectual understanding but through repeated listening.
12. Distribution in modern scenes
Microtonal music does not form a single genre.
- Experimental music
- electronic music
- Inside Jazz/Pop
- Video/Installation
It exists not as a “genre” but as a production philosophy.
13. Temperament structure relationship diagram
14. Chronology: Development of microtonal music
15. Conclusion
Microtonal music is not an exercise in increasing pitch. This is a shift to a production philosophy that does not assume a fixed pitch. Harry Partch brought music back to the body and space, and Jacob Collier translated that theory into a modern sensibility. This movement will continue to work quietly in the deep layers of music production.
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