Twelve Microtonal Etudes for Electronic Music Media
http://dbpedia.org/resource/Twelve_Microtonal_Etudes_for_Electronic_Music_Media an entity of type: Thing
Twelve Microtonal Etudes for Electronic Music Media (Doce estudios microtonales para medios musicales electrónicos), op. 28, es un conjunto de piezas en varios temperamentos iguales microtonales compuestas y publicadas en LP en 1980 por el compositor estadounidense Easley Blackwood Jr. Blackwood comparó la tarea con escribir una "secuela" de El clave bien temperado de Bach.
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Twelve Microtonal Etudes for Electronic Music Media, Op. 28, is a set of pieces in various microtonal equal temperaments composed and released on LP in 1980 by American composer Easley Blackwood Jr. In the late 1970s, Blackwood won a grant from the National Endowment for the Humanities to investigate the harmonic and modal properties of microtonal tunings. The project culminated in the Microtonal Etudes, composed as illustrations of the tonal possibilities of all the equal tunings from 13 to 24 notes to the octave. He was intrigued by "finding conventional harmonic progressions" in unconventional tunings. "What I was particularly interested in was chord progressions that would give a sensation either of modal coherence or else of tonality. That is to say you can actually identify subdomina
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Twelve Microtonal Etudes for Electronic Music Media
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Twelve Microtonal Etudes for Electronic Music Media
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Twelve Microtonal Etudes for Electronic Music Media (Doce estudios microtonales para medios musicales electrónicos), op. 28, es un conjunto de piezas en varios temperamentos iguales microtonales compuestas y publicadas en LP en 1980 por el compositor estadounidense Easley Blackwood Jr. A finales de la década de 1970, Blackwood ganó una beca del Fondo Nacional para las Humanidades para investigar las propiedades armónicas y modales de las afinaciones microtonales. El proyecto culminó con los Estudios Microtonales, compuestos como ilustraciones de las posibilidades tonales de todas las afinaciones iguales de 13 a 24 notas por octava. Le intrigaba "encontrar progresiones armónicas convencionales" en afinaciones no convencionales. “Lo que me interesó particularmente fueron las progresiones de acordes que darían una sensación de coherencia modal o de tonalidad. Es decir, puedes identificar subdominantes, dominantes, tónicos y tonalidades." Blackwood comparó la tarea con escribir una "secuela" de El clave bien temperado de Bach. Los Doce estudios microtonales fueron publicados nuevamente en disco compacto en 1994, acompañados de dos composiciones adicionales de afinaciones que Blackwood exploró en los Etudes: Fanfare in 19-note Equal Tuning, Op. 28a, y Suite for Guitar in 15-note Equal Tuning, op. 33. La Fanfare, al igual que los estudios, fue realizada por el compositor en el sintetizador Polyfusion. La suite fue interpretada por el guitarrista Jeffrey Kust en una guitarra acústica con un diapasón modificado.
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Twelve Microtonal Etudes for Electronic Music Media, Op. 28, is a set of pieces in various microtonal equal temperaments composed and released on LP in 1980 by American composer Easley Blackwood Jr. In the late 1970s, Blackwood won a grant from the National Endowment for the Humanities to investigate the harmonic and modal properties of microtonal tunings. The project culminated in the Microtonal Etudes, composed as illustrations of the tonal possibilities of all the equal tunings from 13 to 24 notes to the octave. He was intrigued by "finding conventional harmonic progressions" in unconventional tunings. "What I was particularly interested in was chord progressions that would give a sensation either of modal coherence or else of tonality. That is to say you can actually identify subdominants, dominants, tonics, and keys." Blackwood likened the task to writing a "sequel" to The Well-Tempered Clavier. The Twelve Microtonal Etudes were re-released on compact disc in 1994, accompanied by two additional compositions of Blackwood's in tunings he explored in the Etudes: Fanfare in 19-note Equal Tuning, Op. 28a, and Suite for Guitar in 15-note Equal Tuning, Op. 33. The fanfare, like the etudes, was performed by the composer on Polyfusion synthesizer. The suite was performed by guitarist Jeffrey Kust on an acoustic guitar with a modified fretboard.
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