Sure, but even in western music the chromatic scale is considered to have been exhausted in the 20th century. Modern music has moved on to use other notes and sounds and in many cases is not even pitch-centric.
>Sure, but even in western music the chromatic scale is considered to have been exhausted in the 20th century.
Yeah, but by people like Schoenberg, Alban Berg, and the like, or the wilder jazz guys. Not exactly what most people enjoy with a cup of coffee.
>Modern music has moved on to use other notes and sounds and in many cases is not even pitch-centric.
I think that for e.g. electronic, dance, experimental music etc, the chromatic scale/classical harmony/etc. is still a good foundation -- the additional not pitch-centric focus is either in rhythm (which is orthogonal) or in sample/noise-based focus which usually just goes with "if it sounds good, it's ok" kind of approach.
So, not much micro-tonal or other approaches going on in practice.
It's out there if you open your eyes a bit. There is a TON of microtonality in blues guitar playing - they just don't use the $10 academic words for it.
Well, I'm from a country where lots of folk music is microtonal.
That said, I don't consider the blues guitar playing a major example of microtonic music, $10 words or not. There are some elements, but you can find much more impressive examples in African music for one (part of which could have been inspiration for early gospel/blues musicians).
That's a bit like saying the alphabet has been exhausted, so we should come up with new letters.
There is a huge, potentially indefinite space of possibilities of combinations of melody, harmony, rhythm and timbre, even within the constraints of the chromatic scale
