fendedtinysongrefapply

fendedtinysongrefapply is a contemporary musical piece first performed in 2007 by the avant‑garde ensemble "Rift Point". The title is a coined term derived from the sonic exploration of microtonality ("fendedtine") combined with the practice of referencing unconventional timbres ("songref") and the use of applied rhythm ("apply"). The composer, whose pseudonym is M. S. Kwon, designed the work to examine the boundaries between audible and inaudible spaces, employing a twelve‑piece suite of micro‑interval pieces that each explore a different pitch class.

The composition is structured around a series of eight “refraction blocks” that are each preceded by a short tonal motif. Instrumentation is sparse, featuring a tuned glass harmonica, a prepared piano, a set of tuned steel drums, and a custom electronic sequencing unit. The musical material oscillates between a gently throbbing pulse and stochastic clusters of pitches that can be heard only with active listening. The piece also incorporates spatial audio techniques by positioning speakers in a circle around the audience. In this way it attempts to transform the listening experience into a dynamic field.

Upon its premiere it received mixed reviews from critics; some praised the work’s experimental bravery while others considered its intuitive fragmentary style to be inaccessible. Since then fendedtinysongrefapply has been performed occasionally by small experimental ensembles in Europe and North America and is considered a reference point in micro‑tonal contemporary music studies. The piece is frequently used in academic discussions about the blending of acoustic and electronic sound worlds, and has been cited as an influence by several emerging composers who work with non‑standard tuning systems.