Abstract
This volume is based on the conviction that microtonality is a fundamental change-indicating concept in Western music history. The book focuses on the development of microtonal music in Eastern and Central Europe from World War I to the present. The authors examine how diverse concepts of microtonality have given way to new composition theories and practices in the region, which has long been marginalized in general histories of avant-garde and post-avant-garde music. These scholars hold the view that even between WWI and WWII, microtonal music and its theoretical reflection were outstanding contributions of Eastern and East-Central European composers to the contemporary discourse of avant-garde music. That provoked radical changes in the composition and performance practice of new music and affected several generations, sustaining and transforming early avant-garde insights.
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