Xenharmonic Praxes: Compositional Studies in 31-EDO for Guitar

Abstract

This thesis examines the creative, theoretical, and practical implications of composing for the guitar in thirty-one-tone equal temperament (31-EDO). Although 31-EDO has a deep connection to musical tradition, its application to the contemporary guitar remains largely unexplored within modern research circles. By combining historical contextualization with theoretical analysis, instrument modification, and compositional inquiry, this study investigates how microtonality can reshape the timbral identity, expressive range, and performative possibilities of the guitar in modern contexts. The methodology of this research encompasses the modification of two traditional guitars. A classical guitar was configured to a fretless design, with adhesive microfrets subsequently applied to facilitate precise microtonal inflections. Complementing this, an adjustable microtonal fretboard was installed on a traditional electric guitar, allowing exploration of 31-EDO across differing instrumental contexts. These modifications resulted in a collection of compositional sketches that directly engage the 31-EDO system, illustrating both the practical challenges inherent in performing microtonal music and the expanded expressive possibilities made available through instrument modification. In this context, praxes denotes distinct modes of praxis: historical, theoretical, physical, and compositional, through which musical knowledge is generated, collectively giving rise to a broader Xenharmonic praxes. This framework demonstrates the viability of 31-EDO as a coherent compositional environment and highlights practical pathways for composers, performers, and instrument builders seeking to expand the expressive potential of the guitar.