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n. Music
An interval smaller than a semitone.

mi′cro·ton′al (-tō′nəl) adj.
mi′cro·to·nal′i·ty (-tō-năl′ĭ-tē) n.
mi′cro·ton′al·ly adv.


(Music, other) any musical interval smaller than a semitone
ˌmicroˈtonal adj
ˌmicrotoˈnality n
ˌmicroˈtonally adv


(ˈmaɪ krəˌtoʊn)

a musical interval smaller than a semitone.
mi`cro•ton′al, adj.
mi`cro•ton′al•ly, adv.
References in periodicals archive ?
And yet, to better understand the nuances of his groundbreaking theoretical and compositional work on microtonal music, this endeavor becomes all the more important.
This Festival will feature performances and lectures on microtonal music and new ideas of musical expression.
REVIEW TITLE: The Gould Piano Trio VENUE: St Paul's Hall, Huddersfield REVIEW: Chris Robins RICHARD Steinitz demonstrated that microtonality, used in much new music including rocK and jazz, was not new when he programmed a Damascus Sufi ensemble and their 700 years old microtonal music at Huddersfield Contemporary Music Festival in 2000.
The classes given by this pioneer of microtonal music allured students focused on various genres.
Instead, she ended up studying microtonal music under composer Joe Maneri and took classes in jazz and klezmer.
A winner of three Prix de Rome awards and two Guggenheim grants, American composer John Eaton is internationally recognized as a composer of electronic and microtonal music.
Well known for his expressive microtonal music, Eaton draws upon a background in jazz to compose operas and musical settings for poetic texts by a wide range of poets including John Donne, Emily Dickinson, Charles Baudelaire, Rainer Maria Rilke, William Butler Yeats, Federico Garcia Lorca, Wallace Stevens, Leopoldo Lugones, and Hart Crane.
The paper reflects on the associated development of instruments capable of performing microtonal music, citing examples from artists such as Jacques Dudon, Stuart Favilla, Ellen Fullman and Warren Burt.
True iconoclasts, they are interested in microtonal music which cares little for the impositions of the chromatic scale.
Not only do most proponents of just intonation, motivated by their beliefs about dissonance to renounce traditional equal temperament, reject other types of non-just microtonal music as well, such as quarter-tone music, (14) but they are also implicitly--though not outwardly--at odds with all non-just music, of any kind.
Alluding to Schoenberg, Madrid argues that Carrillo's microtonal music responds to the polemics of "style and idea" characteristic of German-influenced music of the era, a conclusion those whose concept of Mexican music is largely shaped by El salon Mexico or Jose Pablo Moncayo's Huapango will find stimulating.