<?xml version="1.0" encoding="utf-8" standalone="yes"?>
<rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom">
	<channel>
		<title>XE on Music Theory Print</title>
		<link>https://musictheoryprint.com/genres/xe/</link>
		<description>Recent content in XE on Music Theory Print</description>
		<generator>Hugo</generator>
		<language>en</language>
		
		
		
		
			<atom:link href="https://musictheoryprint.com/genres/xe/index.xml" rel="self" type="application/rss+xml" />
			<item>
				<title>Xenharmonic music</title>
				<link>https://musictheoryprint.com/genres/xe/xenharmonic-music/</link>
				<pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate>
				<guid>https://musictheoryprint.com/genres/xe/xenharmonic-music/</guid>
				<description>&lt;div class=&#34;mtp-special-block&#34;&gt;&#xA;&lt;h2 id=&#34;diatonic-xenharmonic-music&#34;&gt;Diatonic xenharmonic music&lt;a class=&#34;anchor&#34; href=&#34;#diatonic-xenharmonic-music&#34;&gt;#&lt;/a&gt;&lt;/h2&gt;&#xA;&lt;p&gt;Music also can share much of the familiar territory of twelve-tone music yet also contain xenharmonic features. For example, Easley Blackwood, author of The Structure of Recognizable Diatonic Tunings (1985), wrote many etudes in equal temperament systems ranging from 12 to 24 tones. These etudes bring out connections and resemblances to twelve-tone music as well as various xenharmonic characteristics, reflected in Twelve Microtonal Etudes for Electronic Music Media. About his 16-tone etude, Blackwood wrote: Darreg explains: &amp;ldquo;I devised the term &amp;lsquo;xenharmonic&amp;rsquo; to refer to everything that does not sound like 12-tone equal temperament.&amp;rdquo;&lt;/p&gt;</description>
			</item>
	</channel>
</rss>
