Some fixed just intonation scales and systems, such as the diatonic scale above, produce wolf intervals. The above scale allows a minor tone to occur next to a semitone which produces the awkward ratio 32:27 for C:A, and still worse, a minor tone next to a fourth giving 40:27 for E:A. Moving A down to 10/9 alleviates these difficulties but creates new ones: D:A becomes 27:20, and A:F# becomes 32:27. You can have more frets on a guitar to handle both A's, 9/8 with G and 10/9 with G so that C:A can be played as 6:5 while D:A can still b ...

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Just intonation, Just intonation - The diatonic scale in just intonation, Just intonation - Why isn't just intonation used much?, Just intonation - Singing in just intonation, Just intonation - Bagpipe tuning, Just intonation - Non-western tuning, Just intonation - Western composers who specified just intonation

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Dante Michaelangelo Benvenuto Ferruccio Busoni (April 1, 1866 – July 27, 1924) was an Italian composer, pianist, music teacher and conductor. Ferruccio Busoni - Biography. Busoni was born in Empoli in Italy, the only child of two professional musicians: his Italian/German mother a pianist, his Italian father a clarinettist. They were often touring during his childhood, and he was brought up in Trieste for the most part. Busoni was a child prodigy. He made his public debut on the piano with his pare ...

Including:

• Ferruccio Busoni - Biography
• Ferruccio Busoni - Busoni's music
• Ferruccio Busoni - Busoni's editions
• Ferruccio Busoni - Recordings

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Xenharmonic music includes all tuning systems and music using those systems not using the common European twelve-tone equal temperament. The term was coined by Ivor Darreg from the Greek for strange or foreign, xenos, though it often includes all microtonal music. Xenharmonic tunings include nineteen or other tone equal temperament, some tunings based on the 'music of the spheres', or less systematic tunings such as Annie Gosfield's purposefully "out of tune" sampler based music. Other composers of xenharmonic music inc ...

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Most composers don't specify how instruments are to be tuned, although historically most have assumed one tuning system which was common in their time; in the 20th century most composers assumed equal temperament would be used. However, a few have specified just intonation systems for some or all of their compositions, including Glenn Branca, Wendy Carlos, Stuart Dempster, Arnold Dreyblatt, Kyle Gann, Kraig Grady, Lou Harrison, Ben Johnston, Elodie Lauten, Pauline Oliveros, Harry Partch, Robert Rich, Terry Riley, James Tenney, Ernesto Rodrig ...

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Just intonation, Just intonation - The diatonic scale in just intonation, Just intonation - Why isn't just intonation used much?, Just intonation - Singing in just intonation, Just intonation - Bagpipe tuning, Just intonation - Non-western tuning, Just intonation - Western composers who specified just intonation

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In Indian music, the basic unaltered diatonic scale is considered to be 1/1, 9/8, 5/4, 4/3, 3/2, 27/16, 15/8, 2/1. This would appear problematic, since (27/16):(5/4) = 27:20 (a wolf interval), not 4:3. But Indian music uses melodies over a drone dyad (usually 1/1 and 3/2), so these two pitches (27/16 and 5/4) would seldom be heard sounding together. See sargam and swara. [The just scale with the ratios 1/1, 9/8, 5/4, 4/3, 3/2, *5/3*, 15/8, 2/1 gives (5/3):(5/4) = 4:3 (a perfect fourth), and allows these notes to sound together in a co ...

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Just intonation, Just intonation - The diatonic scale in just intonation, Just intonation - Why isn't just intonation used much?, Just intonation - Singing in just intonation, Just intonation - Bagpipe tuning, Just intonation - Non-western tuning, Just intonation - Western composers who specified just intonation

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It is possible to tune the familiar diatonic scale or chromatic scale in just intonation, in many ways, all of which make certain chords purely tuned and as consonant as possible, and others considerably more dissonant and indeed seeming out-of-tune to modern ears (see below for more on this). The prominent notes of a given scale are tuned so that the ratios of their frequencies are comprised of relatively small integers. For example, in the key of G major, the ratio of the frequencies of the not ...

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Just intonation, Just intonation - The diatonic scale in just intonation, Just intonation - Why isn't just intonation used much?, Just intonation - Singing in just intonation, Just intonation - Bagpipe tuning, Just intonation - Non-western tuning, Just intonation - Western composers who specified just intonation

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Scales in traditional Western music generally consist of seven notes, made up of a root note and six other scale degrees whose pitches lie between the root and the root's first octave. Notes in the commonly used scales (see just below) are separated by whole and half step intervals of tones and semitones (the harmonic minor scale including a three-semitone interval; the pentatonic including two of these). There are a number of different types of scales used commonly in Western music, including: The major sca ...

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Scale music, Scale music - Scales in Western music, Scale music - Scale degrees, Scale music - On the Origin of Scales, Scale music - Non-Western scales, Scale music - Microtonal scales, Scale music - Jazz and blues, Scale music - Chords, Scale music - Patterns, Scale music - Psychoacoustical scales, Scale music - Source

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In most cases, a sharp raises the pitch of a note one semitone while a flat lowers it a semitone. A natural is used to cancel the effect of a flat or sharp. Since about 1700, accidentals have been understood to continue for the remainder of the measure in which they occur, so that a subsequent note on the same staff position is still affected by that accidental, unless replaced by an accidental of its own. Notes on other staff positions, including those an octave away, are unaffected. Once a barline is passed, the effect of the accide ...

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Accidental music, Accidental music - Standard use of accidentals, Accidental music - Courtesy accidentals, Accidental music - Microtonal notation, Accidental music - History of accidental notation

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See: List of modernistic pieces. Modernism music - Expansion and destruction of tonality. Modernist movements include expansion to common practice tonality, such as Debussy, Strauss, Mahler, the young Schoenberg, and the polytonality of Darius Milhaud, Paul Hindemith, and Ives. Alternatives to common practice include the twelve tone technique of the older Arnold Schoenberg and pupils, the serialism of Milton Babbitt and Pierre Boulez, as well as the high dissonance of Carl Ruggles, Ruth Crawford-Seeger, and Charles ...

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Modernism music, Modernism music - Defining musical modernism, Modernism music - Examples of modernism in music, Modernism music - Expansion and destruction of tonality, Modernism music - Comprehensiveness and depth, Modernism music - Science and sci-fi, Modernism music - Extended techniques and sounds, Modernism music - Speech and singing, Modernism music - Visual art and music, Modernism music - Individualism, Modernism music - Ethnomusicology and political advocacy, Modernism music - Neoclassicism, Modernism music - History of modernism in music, Modernism music - Late 19th century origins, Modernism music - Alternative categorizations, Modernism music - Musical modernism's reception and controversy, Modernism music - Sources

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The majority of Busoni's works are for the piano. Busoni's music is typically contrapuntally complex, with several melodic lines unwinding at once. Although his music is never entirely atonal in the Schoenbergian sense, his later works are often in indeterminate key. In the program notes for the premiere of his Sonatina seconda of 1912, Busoni calls the work senza tonalità (without tonality). Johann Sebastian Bach and Franz Liszt are often identified as key influences, though some of his music has a neo-classic ...

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Ferruccio Busoni, Ferruccio Busoni - Biography, Ferruccio Busoni - Busoni's music, Ferruccio Busoni - Busoni's editions, Ferruccio Busoni - Recordings

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Busoni was born in Empoli in Italy, the only child of two professional musicians: his Italian/German mother a pianist, his Italian father a clarinettist. They were often touring during his childhood, and he was brought up in Trieste for the most part. Busoni was a child prodigy. He made his public debut on the piano with his parents, at the age of seven. A couple of years later he played some of his own compositions in Vienna where he heard Franz Liszt play, and me ...

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Ferruccio Busoni, Ferruccio Busoni - Biography, Ferruccio Busoni - Busoni's music, Ferruccio Busoni - Busoni's editions, Ferruccio Busoni - Recordings

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Although a barline is always understood to cancel the effect of an accidental (except for a tied note), often publishers will use a courtesy accidental as a reminder if the note occurs in the following measure. This usage varies: whereas a few situations are construed to require a courtesy accidental, such as when the first note in a measure is one which had had an accidental applied in the previous measure after a tie carries an accidental across a barline, when the ...

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Accidental music, Accidental music - Standard use of accidentals, Accidental music - Courtesy accidentals, Accidental music - Microtonal notation, Accidental music - History of accidental notation

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Composers of microtonal music have developed a number of notations for indicating the various pitches outside of standard notation. One such system for notating quarter tones, used by the Czech Alois Hába and other composers, is shown at right. In the 19th and beginning 20th century when Turkish musicians switched from their traditional notation systems -- which were not staff based -- to the European staff based system, they created a refinement to the European accidental system in order to be able to notate Turkish scales which mak ...

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Accidental music, Accidental music - Standard use of accidentals, Accidental music - Courtesy accidentals, Accidental music - Microtonal notation, Accidental music - History of accidental notation

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Busoni also edited of music by other composers. The best known of these is his edition of the complete Bach solo keyboard works, which he edited with the assistance of his students Egon Petri and Bruno Mugellini. He adds tempo markings, articulation and phrase markings, dynamics and metronome markings to the original Bach, as well as extensive performance suggestions. In the Goldberg Variations, for example, he suggests cutting eight of the variations for a "concert performance", as well as substantially rewriting many sections. The edition r ...

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Ferruccio Busoni, Ferruccio Busoni - Biography, Ferruccio Busoni - Busoni's music, Ferruccio Busoni - Busoni's editions, Ferruccio Busoni - Recordings

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A scale degree is a numeric position of a note within a scale ordered by increasing pitch. The simplest system is to name each degree after its numerical position in the scale, for example: the first, the fourth. Because intervals are inclusive, a fifth describes a note which is four notes after the tonic. Major scales have seven notes which are named, in order: tonic, supertonic, mediant, subdominant, dominant, submediant, leading-tone (or leading-note). Also commonly used is the "movable do" solfege naming convention in which each scale degree is given a syllable. In the major scale, the solfege syllables are: Do ...

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Scale music, Scale music - Scales in Western music, Scale music - Scale degrees, Scale music - On the Origin of Scales, Scale music - Non-Western scales, Scale music - Microtonal scales, Scale music - Jazz and blues, Scale music - Chords, Scale music - Patterns, Scale music - Psychoacoustical scales, Scale music - Source

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Modernism music - Late 19th century origins. As with many other arts, the consciousness of modernity appeared before music which is now labelled "modernist". Mahler and Puccini both thought of themselves as modern composers and were concerned with their place in modern music. The end of the 19th century and beginning of the 20th century saw a host of harmonic, melodic and instrumental innovations in music, but in an effort to ...

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Modernism music, Modernism music - Defining musical modernism, Modernism music - Examples of modernism in music, Modernism music - Expansion and destruction of tonality, Modernism music - Comprehensiveness and depth, Modernism music - Science and sci-fi, Modernism music - Extended techniques and sounds, Modernism music - Speech and singing, Modernism music - Visual art and music, Modernism music - Individualism, Modernism music - Ethnomusicology and political advocacy, Modernism music - Neoclassicism, Modernism music - History of modernism in music, Modernism music - Late 19th century origins, Modernism music - Alternative categorizations, Modernism music - Musical modernism's reception and controversy, Modernism music - Sources

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Despite Albright's definitions he points out examples of his three traits of modernism long before 1894. Orlando Gibbons' The Cries of Love, Haydn's The Creation, and many romantic works attempt maximal comprehensiveness and depth, such as Beethoven's Ninth Symphony. Semantic specificity has always existed, such as in Clement Janequin's Le chant des oiseaux (birds), Alessandro Poglietti's Rossignolo (nightingale), Vivaldi's Four Seasons (barking dog), Beethoven's Sixth (birds), or Haydn's The Seasons ...

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Modernism music, Modernism music - Defining musical modernism, Modernism music - Examples of modernism in music, Modernism music - Expansion and destruction of tonality, Modernism music - Comprehensiveness and depth, Modernism music - Science and sci-fi, Modernism music - Extended techniques and sounds, Modernism music - Speech and singing, Modernism music - Visual art and music, Modernism music - Individualism, Modernism music - Ethnomusicology and political advocacy, Modernism music - Neoclassicism, Modernism music - History of modernism in music, Modernism music - Late 19th century origins, Modernism music - Alternative categorizations, Modernism music - Musical modernism's reception and controversy, Modernism music - Sources

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Many people have criticized musical modernism, including George Rochberg and Fred Lerdahl. Stanley Cavell (1976, p.187) describes the "burden of modernism" as caused by a situation wherein the "procedures and problems it now seems necessary to composers to employ and confront to make a work of art at all themselves insure that their work will not be comprehensible to an audience." Brian Ferneyhough coined the neologism "too-muchness" to describe the excess of information contained in music exhibiting the New Complexity. Arved A ...

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Modernism music, Modernism music - Defining musical modernism, Modernism music - Examples of modernism in music, Modernism music - Expansion and destruction of tonality, Modernism music - Comprehensiveness and depth, Modernism music - Science and sci-fi, Modernism music - Extended techniques and sounds, Modernism music - Speech and singing, Modernism music - Visual art and music, Modernism music - Individualism, Modernism music - Ethnomusicology and political advocacy, Modernism music - Neoclassicism, Modernism music - History of modernism in music, Modernism music - Late 19th century origins, Modernism music - Alternative categorizations, Modernism music - Musical modernism's reception and controversy, Modernism music - Sources

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Busoni made a considerable number of piano rolls, and a small number of these have been re-recorded onto vinyl record or CD. His recorded output on gramophone record is much smaller and rarer. It includes the following pieces (recorded for Columbia): Prelude & Fugue No. 1 (Bach) Etude Op. 25 No. 5 (Chopin) Chorale Prelude "Nun freut euch liebe Christen" (Bach-Busoni) Ecossaisen (Beethoven) Prelude Op. 27 No. 7 & Etude Op. 10 No. 5 (Chopin) the two works are connected by an improvisator ...

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Ferruccio Busoni, Ferruccio Busoni - Biography, Ferruccio Busoni - Busoni's music, Ferruccio Busoni - Busoni's editions, Ferruccio Busoni - Recordings

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Musicologist Carl Dahlhaus restricted his definition of musical modernism to progressive music in the period 1890-1910: "The year 1890...lends itself as an obvious point of historical discontinuity....The "breakthrough" of Mahler, Strauss, and Debussy implies a profound historical transformation....If we were to search for a name to convey the breakaway mood of the 1890's (a mood symbolized musically by the opening bars of Strauss's Don Juan) but without imposing a fictitious unity of style on the age, we could do worse than revert to ...

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Modernism music, Modernism music - Defining musical modernism, Modernism music - Examples of modernism in music, Modernism music - Expansion and destruction of tonality, Modernism music - Comprehensiveness and depth, Modernism music - Science and sci-fi, Modernism music - Extended techniques and sounds, Modernism music - Speech and singing, Modernism music - Visual art and music, Modernism music - Individualism, Modernism music - Ethnomusicology and political advocacy, Modernism music - Neoclassicism, Modernism music - History of modernism in music, Modernism music - Late 19th century origins, Modernism music - Alternative categorizations, Modernism music - Musical modernism's reception and controversy, Modernism music - Sources

Read more here: » Modernism music: Encyclopedia II - Modernism music - Defining musical modernism