Macrotonality

A document I wrote a while ago as a composer/musicologist on my theory of "Macrotonality" -- an inverted look at "microtonal" music that has gotten fairly popular in the New Music scenes of classical music after the turn of the century.

The common traits of "Macrotonal" music (I coined this myself, for a lack of a better word):

The acceptance of equal-temperament as an organizational language, even while exploring new harmonic areas.

Retains an interest in using consonance and dissonance as a driving force behind the music, while acknowledging that these relationships are relative.

Employment of harmonies that defy traditional tonal/modal analysis -- chords are constructed intervalically rather than triadically.

Willingness to use chords, scales, or modes that negate scalar repetitions at the octave.

Most often found in stacked-interval sonorities, particularly fourths and fifths.

Is compatible with microtonality - especially 24-tone equal-temperament (also known as quarter-tones). A system that has potential to unify and accommodate a lot of different styles, including non-Western cultures that employ tuning systems outside of Western tuning systems.

Minted with Comic Sans font, as per academic tradition. 🤣