Editing Tone cluster (section)

==Use in other music==
In traditional Japanese ''[[gagaku]]'', the imperial court music, a tone cluster performed on ''[[Shō (instrument)|shō]]'' (a type of [[free reed aerophone|mouth organ]]) is generally employed as a [[matrix (music)|harmonic matrix]].<ref>Malm (2000), pp. 116–117.</ref> [[Yoritsune Matsudaira]], active from the late 1920s to the early 2000s, merged ''gagaku''{{'}}s harmonies and tonalities with avant-garde Western techniques. Much of his work is built on the ''shō''{{'}}s ten traditional cluster formations.<ref>Herd (2008), pp. 373–374.</ref> Lou Harrison's ''Pacifika Rondo'', which mixes Eastern and Western instrumentation and styles, mirrors the ''gagaku'' approach—sustained organ clusters emulate the sound and function of the ''shō''.<ref>Miller and Lieberman (2004), p. 155.</ref> The ''shō'' also inspired [[Benjamin Britten]] in creating the instrumental texture of his 1964 dramatic church parable ''[[Curlew River]]''. Its sound pervades the characteristically sustained cluster chords played on a [https://www.youtube.com/watch?v=UElSN7HTSeM&t=2m25s chamber organ] .<ref>Cooke, M. (1999, p. 183) "Distant Horizons", in ''The Cambridge Companion to Benjamin Britten''. Cambridge University Press.</ref> Traditional Korean court and aristocratic music employs passages of simultaneous ornamentation on multiple instruments, creating dissonant clusters; this technique is reflected in the work of twentieth-century Korean German composer [[Isang Yun]].<ref>Howard (2006), p. 152.</ref>

Several East Asian [[free reed aerophone|free reed instruments]], including the ''shō'', were modeled on the ''[[sheng (instrument)|sheng]]'', an ancient Chinese folk instrument later incorporated into more formal musical contexts. ''Wubaduhesheng'', one of the traditional chord formations played on the ''sheng'', involves a three-pitch cluster.<ref>Wang (2005), p. 65.</ref> [[Peninsular Malaysia|Malayan]] folk musicians employ an indigenous mouth organ that, like the ''shō'' and ''sheng'', produces tone clusters.<ref>''Musical Courier'' 164 (1962), p. 12.</ref> The characteristic musical form played on the ''bin-baja'', a strummed harp of [[Madhya Pradesh|central India]]'s Pardhan people, has been described as a "rhythmic [[ostinato]] on a tone cluster".<ref>Knight (1985).</ref>

Among the [[Ashanti people|Asante]], in the region that is today encompassed by Ghana, tone clusters are used in traditional trumpet music. A distinctive "tongue-rattling technique gives a greater vibrancy to...already dissonant tonal cluster[s].... [I]ntentional dissonance dispels evil spirits, and the greater the clangor, the greater the sound barrage.<ref>Kaminski (2012), p. 185.</ref>