This article proposes that the beginnings of twentieth-century microtonal music and thinking were shaped more by restraint in composers’ thinking than by a full embrace of the principle of ‘progress for progress’s sake’. Pioneering microtonal composers such as Ferruccio Busoni, Julián Carrillo, John Foulds, Alois Hába, Charles Ives and Richard Stein constitute an international group of breakaway modernists, whose music and writings suggest four tropes characterizing this first-generation microtonal music: the rediscovery of a microtonal past, the preservation of tonality, the refinement of tonality and the exercise of restraint. The article traces these tropes of early twentieth-century microtonal experiment in works by Carrillo, Foulds, Hába, Ives and Stein with reference to writings and music by Busoni, Nikolay Kul′bin, Harry Partch, Karol Szymanowski and Ivan Vyschnegradsky. It adds to the growing scholarship about early twentieth-century tonally based aesthetics and techniques, and broadens perspectives on the history of twentieth-century microtonal music.

中文翻译：

---

微音约束

本文提出，20 世纪微调音乐和思想的开端更多地是由于作曲家思想的克制，而不是完全接受“为进步而进步”的原则。费鲁西奥·布索尼 (Ferruccio Busoni)、朱利安·卡里洛 (Julián Carrillo)、约翰·福尔德斯 (John Foulds)、阿洛伊斯·哈巴 (Alois Hába)、查尔斯·艾夫斯 (Charles Ives) 和理查德·斯坦因 (Richard Stein) 等开创性的微调作曲家组成了一个国际性的独立现代主义者团体，他们的音乐和著作暗示了第一代微调音乐的四个特点：对微调音乐的重新发现过去，调性的保存，调性的细化和克制的运用。这篇文章在 Carrillo、Foulds、Hába、Ives 和 Stein 的作品中追溯了 20 世纪早期微音实验的这些比喻，并参考了 Busoni、Nikolay Kul'bin、Harry Partch、Karol Szymanowski 和 Ivan Vyschnegradsky。它增加了关于 20 世纪早期基于音调的美学和技术的日益增长的学术研究，并拓宽了对 20 世纪微音调音乐历史的看法。