While numerous contemporary composers have explored the endless possibilities afforded by microtonal tuning systems, Western popular music has hitherto rarely ventured from the harmonic comfort zone of 12-tone equal temperament. This article highlights an unlikely exception to this trend in the emergence of a community of microtonal electronic dance musicians, and examines how changes in technology, culture, and distribution might have led to its development.
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Adam Charles Hart (2016) studied this question.
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