微分音音樂

微分音音樂（Microtonal music），或簡稱為微音音樂，微分音即比半音還要小的音程。微分音音樂亦曾在某些原始社會中出現過，古往以來也不乏作曲家和理論家對微分音的研究。

在部分作品中，作曲家也曾少量使用微分音作為裝飾，以在傳統音高之中增加一些變化。他們大多各自使用自創的記譜法，來為傳統的五線譜表示微分音。巴爾托克·貝拉曾直接在音符旁標註箭頭，以上下指示微分音的升降。布洛赫則在音與音之間畫上斜線，以表示微分音的升降。阿洛伊斯·哈巴和潘德列茨基則是從升降記號的變形創造新記號，作為微分音的升降記號。

微分音音樂的記譜法問題，在作曲家之間一直難以達成共識，演奏家也不願意學習冷僻的記譜法。要續繼使用原有的五線譜，還是另外建立一套新的系統，至今也還沒有定論。

除此之外，還有微分音適當距離的問題。較早之前的是從十二個半音再分一半的24個四分之一音的音階。布索尼提倡36個音的音階，以六分之一音為最小音程。阿洛伊斯·哈巴隨後也發展出以十二分之一音為音程符號的樂制，一個八度音有72個音。

Julián Carrillo（英語：Julián Carrillo）設計了一種準確、靈活的新方法。C音以0表示，在一個八度音階裡，以連續的數目來表示音。例如半音音階可以0~11來表示，四分之一音的音階可以0~23表示。Joseph Yasser在他的著作《發展調性的理論》（A Theory of Evolving Tonality）中，反對以機械化的方式分割音，提倡在音樂演進的過程中擴展音階。他認為音樂的發展是從五聲音階到七聲音階，再從七聲音階到十二聲音階。根據這個發展過程，下一階段應該是十九聲音階，其中原先的十二音是正音，新的七個音是副音（相當於七音階的半音）。

Harry Partch則在《音樂的起源》（Genesis of a Music）詳細研究調律系統和音階，並以此提出43音階。

除此之外，還有演奏方面的問題。雖然聲樂、弦樂可以奏出微分音，但不易正確奏出。或者需要兩架鋼琴，調音相差四分之一音，再各自演奏分配開來的譜。還有專為微分音設計的特殊樂器，如Ervin M. Wilson的31音鍵盤。微分音的演奏工具，主要還是電子樂器。

微分音音樂的美學價值，到目前為止也還沒有定論。即使可以分辨出微分音音高上的微小差別，也無法保證其藝術價值。而且對於大多數的音樂家而言，微分音就是沒奏準的音。微分音音樂目前還處於開拓階段，主要還是進行實驗性質的工作。

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外部連結

開放目錄專案中的「微分音音樂」
Aikin, Jim. 2003. Jim Aikin's article on alternative tuning in electronic music
Anon. [n.d.]. "Nicola Vicentino (1511–1576) （頁面存檔備份，存於網際網路檔案館）". 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 （頁面存檔備份，存於網際網路檔案館）
Loli, Charles. 2008. " Microtonalismo （頁面存檔備份，存於網際網路檔案館）". (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 （頁面存檔備份，存於網際網路檔案館）"
Links to microtonal composers （頁面存檔備份，存於網際網路檔案館） at Xenharmonic Wiki
Links to microtonal projects around the world （頁面存檔備份，存於網際網路檔案館） at Xenharmonic Wiki
Offtonic Microtonal Synthesizer （頁面存檔備份，存於網際網路檔案館）, a browser-based synth to explore microtonal tunings with a QWERTY keyboard

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