Polytempic Polymicrotonal Music
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Description
This book introduces polytempic polymicrotonality as a new musical aesthetic. It proposes music with more than one microtonal tuning system and discusses examples from the literature to give an historic framework showing that this tendency has been present throughout human musical history. Polytempo is a tool for which polymicrotonal structures can function in relief from its background, and it acts as a frame, or ground structure, that is multidimensional, akin to the advancement of perspective in Renaissance art. The book has historic significance as it is the only book of its category, or genre, in music that features polymicrotonality in music composition or production. It displays examples of music literature for musical precedence in this area, focusing on Charles Ives’s Universe Symphony, unfinished since 1925. Cover Half Title Title Page Copyright Page Dedication Table of Contents Preface Acknowledgments Chapter 1: Introduction 1.1: The Significance of Polymicrotonal Polytempic Music 1.2: Extant Musical Works Approaching Polymicrotonality and Polytempo and the Historic Significance of Microtonality 1.3: Goals and Contents of This Chapter 1.3.1: Historical Background of Polymicrotonality and Representative Works: Exclusion of Certain Historical Figures 1.3.2: Representative Polytempic Works from the Twentieth Century 1.3.3: Literature and Works Suggesting Relationships Between Pitch and Rhythm 1.3.4: Charles Ives’s Universe Symphony and Its Legacy: Polytempic Polymicrotonal Art Music 1.3.5: Compositional Resources: Scale and Tuning Sources and Computer Music Software for the Composition and Realization of Polymicrotonality 1.3.6: What is the Difference Between Tuning and Temperament? Chapter 2: Pitch Historical Information Leading to the Possibility of Polymicrotonality: Representative Figures and Works 2.1: Ancient Greece 2.1.1: The Pythagoreans 2.1.2: The Aristoxenians 2.1.3: Ptolemy 2.2: Europe: The Middle Ages, Renaissance, and Baroque 2.3: The Twentieth Century: The Main Protagonists 2.4: Other Twentieth-Century Microtonalists 2.5: China and Tuning 2.6: Chapter Summary Chapter 3: Rhythm Representative Twentieth-Century Polytempic Works 3.1: Chapter Summary Chapter 4: Pitch + Rhythm Literature and Compositions Suggesting Relationships Between Microtonal Pitch and Rhythm, In Terms of Tempo, Leading to the Union of Polymicrotonality and Polytempo: Henry Cowell, Ivan Wyschnegradsky, and Ben Johnston 4.1: Historical Methods and Thought Concerning Connections of Pitch and Rhythm by the Overtone Series 4.2: Modern Thoughts Connecting Pitch and Rhythm Chapter 5: The Progenitor Charles Ives’s Universe Symphony and Its Legacy: Polytempic Polymicrotonal Art Music 5.1: Johnny Reinhard’s Universe Symphony Realization 5.2: Ives’s Legacy: Polytempic Polymicrotonal Art Music 5.3: Polymicrotonal Notation Techniques 5.4: Polytempo Notation, Approach, and Organization 5.5: Polymicrotonal Pitch Organization and Form 5.6: Compositional Resources: Scale and Tuning Resources and Computer Software for the Composition of Polytempic Polymicrotonal Music Chapter 6: Conclusion 6.1: Are These Microtonal Subtleties Perceptible to the Ear? 6.2: Future Research Regarding Polytempo and Polymicrotonality Bibliography Review Quotes Index
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