微分音音乐

维基百科，自由的百科全书
Harry Partch（英语：Harry Partch） 调性钻石, 43音阶

微分音音乐（Microtonal music），或简称为微音音乐，微分音即比半音还要小的音程。微分音音乐亦曾在某些原始社会中出现过，古往以来也不乏作曲家和理论家对微分音的研究。

在部分作品中，作曲家也曾少量使用微分音作为装饰，以在传统音高之中增加一些变化。他们大多各自使用自创的记谱法，来为传统的五线谱表示微分音。巴尔托克·贝拉曾直接在音符旁标注箭头，以上下指示微分音的升降。布洛赫则在音与音之间画上斜线，以表示微分音的升降。阿洛伊斯·哈巴和潘德列茨基则是从升降记号的变形创造新记号，作为微分音的升降记号。

微分音音乐的记谱法问题，在作曲家之间一直难以达成共识，演奏家也不愿意学习冷僻的记谱法。要续继使用原有的五线谱，还是另外建立一套新的系统，至今也还没有定论。

除此之外，还有微分音适当距离的问题。较早之前的是从十二个半音再分一半的24个四分之一音的音阶。布索尼提倡36个音的音阶，以六分之一音为最小音程。阿洛伊斯·哈巴随后也发展出以十二分之一音为音程符号的乐制，一个八度音有72个音。

Julián Carrillo（英语：Julián Carrillo）设计了一种准确、灵活的新方法。C音以0表示，在一个八度音阶里，以连续的数目来表示音。例如半音音阶可以0~11来表示，四分之一音的音阶可以0~23表示。Joseph Yasser在他的著作《发展调性的理论》（A Theory of Evolving Tonality）中，反对以机械化的方式分割音，提倡在音乐演进的过程中扩展音阶。他认为音乐的发展是从五声音阶到七声音阶，再从七声音阶到十二声音阶。根据这个发展过程，下一阶段应该是十九声音阶，其中原先的十二音是正音，新的七个音是副音（相当于七音阶的半音）。

Harry Partch则在《音乐的起源》（Genesis of a Music）详细研究调律系统和音阶，并以此提出43音阶。

除此之外，还有演奏方面的问题。虽然声乐、弦乐可以奏出微分音，但不易正确奏出。或者需要两架钢琴，调音相差四分之一音，再各自演奏分配开来的谱。还有专为微分音设计的特殊乐器，如Ervin M. Wilson的31音键盘。微分音的演奏工具，主要还是电子乐器。

微分音音乐的美学价值，到目前为止也还没有定论。即使可以分辨出微分音音高上的微小差别，也无法保证其艺术价值。而且对于大多数的音乐家而言，微分音就是没奏准的音。微分音音乐目前还处于开拓阶段，主要还是进行实验性质的工作。

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