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。

Harry Partch英语Harry Partch 调性钻石, 43音阶

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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