Music in 4/4 time.
Music in 12 tone equal temperament.
Generally speaking, these are the accepted basic rhythmic and pitch structures of so much music created in the West. Listeners and musicians are somewhat culturally acclimated to these familiar sounds and have certain expectations about how music should behave within the boundaries of these compositional rules.
But what if musicians and composers were to begin to challenge our expectations and ways of listening by changing these fundamental parameters of meter and pitch, through incorporating rhythmic structures which are not always in multiples of two, and by the use of microtonal and xenharmonic intonation systems?
How might changes to these aspects of musical structure invite and inspire different qualities of listening and musical anticipation?
What possibilities might eventually be revealed for other forms of expression and ecstatic musical experience?
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