I believe the GGP meant to refer to “microtones,” which are frequencies that don’t fall into the Twelve Tone Equal Temperament tuning system. These are commonly used in non-western music (Indian music is a typical example), and occasionally in some western music styles (blues, some jazz, some sub-genres of rock, maybe), but you’re not going to find microtones in most western music.
The use of microtones would greatly expand the set of possible melodies, but those melodies would also sound very weird to someone who has grown up listening to western music. Also, these legal cases are not decided by precisely comparing the relative frequencies of notes in two different melodies.
Relating all this to the article, I personally feel like music is not a good parallel for the topic of academic plagiarism since the idea is the whole point of academic papers, whereas the point of music is harder to pin down, but it’s certainly not only to expand the set of melodies and chords used in songs.
Anyways, for more on music theory, I’d suggest Adam Neely’s YouTube channel [2].
[1] https://en.m.wikipedia.org/wiki/12_equal_temperament
[2] such as this video: https://m.youtube.com/watch?v=ghUs-84NAAU
It's a bit odd from my perspective
People from all cultures can and do use notes from outside those twelve tones in music. In western music, sometimes you’ll notice (check out King Gizzard and the Lizard Wizard[1]), and sometimes you probably won’t (that “raspiness” in blues music is usually because they’re singing/playing a note slightly “out of tune” aka “microtonally”).
Music and “what sounds good” is a cultural construct, and I’d encourage you to check out music from around the world as well experimental microtonal artists if you’re interested in hearing what happens when you aren’t tied to the idea of twelve notes in an octave.
I wish more people were exposed to a wider variety of types and patterns in music, there's a lot of great sounding music out there which breaks the usual mold played on radio stations
The 12 tone standard didn't just come out of nowhere, it is dominant for a reason. It developed throughout the entire existence of humanity. Think about it, currently the scientific consensus is that singing actually came before speaking. It's those 12 tones that create the best sounding melodies and harmonies. The greatest composers of all time used them. Maybe you're a guy who likes impro jazz (which coincidentally uses micro tones), but most people don't.
Side note: yes, I love love jazz in all its forms ^^
>I believe the GGP meant to refer to “microtones,” which are frequencies that don’t fall into the Twelve Tone Equal Temperament tuning system. These are commonly used in non-western music (Indian music is a typical example), and occasionally in some western music styles (blues, some jazz, some sub-genres of rock, maybe), but you’re not going to find microtones in most western music.
12 is the simplest scale whose intervals match the harmonic sequence. It's a technology.
It’s also worth noting that modern 12-TET is not the series of whole number ratios that someone might expect from basing it off a harmonic series [1]. It’s an approximation based off a logarithmic scale. 12 Tone Just (or “Pure”) Intonation sounds pretty weird, and in my opinion, bad. If people had been making music with 12 Tone Just Intonation for the last millennium, maybe it would sound good to me!
https://en.wikipedia.org/wiki/12_equal_temperament#Just_inte...
To make just temperament sound "good" even relative to the ears of another time period, probably required playing music written for that particular tuning.
As a double bassist, playing pitches repeatably enough to claim any specific temperament would be a lifelong challenge, if it's even attainable. Most of the time, musicians don't think about temperaments. We try to play in tune and sound good.