Welcome To The Website Of The
Boston Microtonal Society

Concert Tribute to Joe Maneri

Friday, May 21, 2010
8:00pm - 11:00pm
Cathedral Church of St. Paul
130 Tremont St., Boston
Free admission

Please join us!

Concert will feature many improvisations as well as performances of some of Joe's composed works including:

Piano Sonata Pax (1959)
Organ Fugue (1954)
Piano Fugue (1953)
Kotlyn (2000)

A growing list of musicians performing includes, so far:

Mat Maneri
Abe Maneri
Sonja Maneri

and

Jennifer Ashe
James Bergin
Ed Broms
Leonardo Ciampa
Clayton Dewalt
Glenn Dickson
John Fugarino
Avery Griffin
David Haas
Katt Hernandez
Noah Kaplan
Pandelis Karayorgis
Will Lang
Dan Levin
John McDonald
Hankus Netsky
Christopher Watford
Julia Werntz
James Wylie

About The Boston Microtonal Society
The Boston Microtonal Society is a non-profit organization dedicated to the composition, performance and study of microtonal music. Since its creation in 1988, BMS has been devoted to raising the awareness of musicians and audiences of the expanded and enhanced expressive possibilities of composing, improvising and performing new music with new musical intervals. For over two decades, BMS has pursued its mission through concert series, workshops, and classes in the Boston area. Among its most important current initiatives are:

• NotaRiotous, directed by James Bergin, founded in 2005 as a chamber ensemble devoted exclusively to the performance of microtonal music of the 20th and 21st centuries. The musicians of NotaRiotous are some of Boston's most sought-after performers of contemporary music.
• PLAY!, a series of concerts of improvised microtonal music directed by saxophonist Noah Kaplan.
• Jonathan Keith Scholarship, a grant of $500 given every academic year by the Jonathan Keith Fund and BMS to a student at the New England Conservatory who is actively studying and creating music with microtones.

Some Introductory Words About Microtones
Interpretations of the term "microtonal" vary widely, and for our purposes it is useful to note the following two basic types of usage:

1) The most literal and narrow definition of the word "microtone" has as its reference point the Western "tone" (whole tone). If a semitone is "half" of a tone (in terms of cents *), then anything smaller is classified as a microtone, or microinterval, according to this definition. (More specific names are "quarter-tone," "fifth-tone," "eighth-tone," "sixth-tone," etc.)

* Alexander J. Ellis' system for measurement of musical intervals, in which the equal-tempered semitone equals 100 cents, the whole tone 200 cents, the octave 1200 cents, and so on.

2) The most general, inclusive—and most common—usage of the term "microtonal" is its application to any music made using intervals other than the traditional intervals of 12-note equal temperament (with its multiples of 100-cent semitones and 200-cent whole tones), which has been the standard tuning for Western music since the mid 19th century.

If we consider this second, more general application, we can easily see that there are a variety of artistic, theoretical and philosophical channels through which musicians may be drawn to those "other intervals." As a result there are a few different disciplines, only loosely inter-related, all of which may fall into the category "microtonality." These include:

• the practice of simply adding pitches to 12-note equal temperament (most often through microtonal equal temperaments such as 24-note (quarter-tones), 36-note (sixth-tones), 48-note, 72-note, 96-note, etc.)
• contemporary pure tuning methods such as the various modern forms of just intonation, Pythagorean and mean-tone tunings
• historically accurate tunings of Medieval, Renaissance, Baroque and Classical pieces
• the study of non-Western tuning systems

Where The BMS Fits In
As an organization BMS has always presented a variety of approaches to microtonality. However, our activities in general are centered more on the creative and practical aspects of music-making than on pre-compositional tuning theory, and we do favor music in which the "new" pitches are audible materials for musical innovation (as opposed to historical tunings, for example). There are an abundance of resources on the Web for the tuning-theory, acoustical, musicological and ethnomusicological branches of the field. (Click here for some links.)

We hope that newcomers and experts alike will find this website informative, and in the spirit of perpetual learning we invite you to share with us your own insights and questions.

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