Microtonal expansions: the diverse techniques in Luís Neto da Costa’s pieces from 2016 to 2021
This paper examines the microtonal techniques employed by Luís Neto da Costa in his compositions from 2016 to 2021, emphasizing their conceptual frameworks and practical applications. The author analyzes approaches ranging from chromaticism to innovative spectralist perspectives, showcasing the versatility of microtones in shaping melodic, harmonic, and glissandi structures. Key techniques include chord interpolations, serialization based on twin prime patterns, scales with specific constraints, cyclic interval sets, mathematical curves, clusters, acoustic beats, and Tonnetz harmonies. Furthermore, prime partial harmonies and common partial harmonies reveal the author’s nuanced approach to consonance and dissonance through harmonic frameworks based on overtone series and spectral relationships.
Considering the scope of this study, which encompasses five years and includes more than ten works, the analysis emphasizes broad compositional strategies that have been categorized and labeled based on their characteristics. Each technique is concisely and cohesively articulated, highlighting its function and application within the overarching framework of the author’s compositional practice. This approach avoids extensive analyses of individual works, thereby promoting a clearer comprehension of the principles that underlie the utilization of microtones across various compositions. To enhance the understanding of these techniques within the context of music history, the author begins by discussing the concepts of “microtonal” and “microtonality,” the absence of a clearly defined microtonal tradition, as well as the changing interpretations of microtonality as an extension of chromaticism and spectral music.
During the description of each technique, the author also showcases the integration of software such as PWGL and Max, which includes libraries like “bach: automatic composer’s helper,” “cage,” and “Zsa.Descriptors,” to facilitate the generation and manipulation of musical data. The incorporation of technology played a central role in the compositional process, enabling the execution of complex tasks and producing accurate results. Moreover, the author investigates the challenges related to the performance of microtones, as well as the implementation of unique extended techniques, such as muffled sounds. The discussion also encompasses the utilization of live electronics and fixed media, such as delayed sound processing and synthesized sounds, which enhance the timbral and textural dimensions through their integration with acoustic instruments.
By examining the interplay between microtonality and various compositional strategies, the study identifies a developmental trajectory in the author’s works, transitioning from dense, complex textures and highly serialized systems to more transparent and consonant structures. The paper concludes by advocating for an expanded understanding of microtonality, emphasizing its potential to transcend conventional ratios, scales, and spectralist traditions, thereby offering innovative contributions to the contemporary music community.
Keywords: composition, microtonality, computer-assisted composition
Biography
Luís Neto da Costa is a Portuguese composer dedicated to expanding instrumental techniques and exploring the harmonic series, a central focus of his Ph.D. research at Aristotle University of Thessaloniki, supported by an FCT studentship and supervised by Dimitri Papageorgiou, Franck Bedrossian, and Emilios Cambouropoulos. He has developed techniques such as “muffled sounds” for clarinet and pivot-finger multiphonics for saxophone, often integrating computer-aided composition and electronics, including video scores.
His works have been performed by ensembles such as Ensemble Recherche, Ensemble Suono Giallo, Remix Ensemble, Lisbon Metropolitan Orchestra, and the Porto Symphony Orchestra. Neto da Costa has received nine composition awards, including the Francisco de Lacerda Prize, and commissions from institutions like Casa da Música, Festival DME, MISO Music, and Arte no Tempo.
He holds a Bachelor’s, Master’s, and Postgraduate degree from ESMAE, University of Aveiro, and ESML, respectively. He has experience in conducting and teaching.
Aristotle University of Thessaloniki, Greece – luisfncosta@gmail.com