微分音音乐

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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外部链接

开放目录项目中的“微分音音乐”
Aikin, Jim. 2003. Jim Aikin's article on alternative tuning in electronic music
Anon. [n.d.]. "Nicola Vicentino (1511–1576) （页面存档备份，存于互联网档案馆）". IVO: Sacred Music in the Italian Cinquecento outside Venice and Rome, edited by Chris Whent. Here Of A Sunday Morning website. (Accessed 19 August 2008)
Chalmers, John. Dr. John Chalmers Divisions of the Tetrachord （页面存档备份，存于互联网档案馆）
Loli, Charles. 2008. " Microtonalismo （页面存档备份，存于互联网档案馆）". (Article on alternative tuning in Peruvian music)
Solís Winkler, Ernesto. 2004. "Julián Carrillo and the 13th Sound: A Microtonal Musical System". (Accessed 19 August 2008)
Wilson, Erv. "Wilson Archives of papers on microtonal theory （页面存档备份，存于互联网档案馆）"
Links to microtonal composers （页面存档备份，存于互联网档案馆） at Xenharmonic Wiki
Links to microtonal projects around the world （页面存档备份，存于互联网档案馆） at Xenharmonic Wiki
Offtonic Microtonal Synthesizer （页面存档备份，存于互联网档案馆）, a browser-based synth to explore microtonal tunings with a QWERTY keyboard

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