Verse:Irta/Music - Revision history

IlL: /* Tsarfati */

2023-01-21T22:07:22Z

Tsarfati

← Older revision		Revision as of 22:07, 21 January 2023
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	Irta Irish borrows maqām names (via Majorcan Arabic, e.g. ''Rāhatı alı-Arvēh'') and the term ''megāmı'' itself, and translates other maqam terms		Irta Irish borrows maqām names (via Majorcan Arabic, e.g. ''Rāhatı alı-Arvēh'') and the term ''megāmı'' itself, and translates other maqam terms

	~~== Tsarfati ==~~
	[[Tsarfati]] music is stylistically halfway between our Ashkenazi music (due to Irta Eastern European music being similar to our timeline's) and Irish folk music, and influenced First Remonitionist music.

	Before the Tsarfati Enlightenment, rhythmic elements from Irish prosody, such as Scotch snaps, used to be considered a regionalism, because most dialects of Ăn Yidiș do not have vowel length. However, during the Tsarfati Enlightenment period, Irta Irish elements including Irish prosody became a trend. This was less strong in areas where Hasidism was popular.

	~~Older Tsarfati styles, particularly cantillation tropes, are the source of Gregorian chant melodies in Irta.~~
	~~=== Tuning ===~~
	Intonation often happens by ear and is not necessarily JI-based (cf. maqam music). Tuning systems used differ by the individual community. Fixed pitch instruments use various overtone scales and detempered 34edo. Neutral intervals are commonly used as in maqam.

	~~Liturgy uses diatonic or maqam modes:~~
	* Torah readings use Mixolydian or Jiharkah
	* Haftarot use Aeolian or Nairuz
	* Non-Eicha Megillot use Dorian or Rast
	** Esther uses this melody (except parts where the Eicha melody is used): https://www.virtualcantor.com/Esther1.mp3
	* Eicha uses Phrygian or Bayati
	* Most blessings use the same scales as our Ashkenazim do
	** Freygish may be similar to 17edo's 1423133
	* Some blessings and prayers use a tuning of Lydian with a supermajor 3rd

	~~Todo: Cantillation tropes~~

	~~=== Folk music ===~~
	Tsarfati Jewish folk songs are known as טאָנתּאן ''dontăn'' in [[Ăn Yidiș]] (singular טאָן ''don''; cognate to Irish ''dán'' 'poem (among other meanings)'). They may be in Ăn Yidiș or in a macaronic mixture of Ăn Yidiș, Hebrew, and other languages. They have some traditional Hivantish, our timeline's Eastern European, and our timeline's Irish elements but are unique. Like in our timeline, Hasidic Judaism is also an influence with its emphasis on dancing, devotion, and wordless melodies.

	~~Instruments from Gaelic music:~~

	* ''pib-ilăn'' - uilleann pipes
	* ''fehăł'' (from in-universe OIr *fethal, from Early Romance vitola) - fiddle
	* ''cłorșăch'' - a version of the Welsh triple harp adapted to common Tsarfati scales (If you say "Jew's harp" in Irta they'd likely think you mean this.)

	~~Instruments from Hivantish music:~~
	* ''șeyņăł'' - kantele

	~~Other instruments, often used in larger ensembles:~~
	* harpsichord -- a staple of Irta klezmer
	* organ
	* tromba marina and horns for harmonic series scales
	~~Modern cłorșăchăn are usually electro-acoustic.~~

	==Talma==		==Talma==

IlL: IlL moved page User:IlL/Verse:Irta/Music to Verse:Irta/Music without leaving a redirect

2022-12-19T03:56:52Z

IlL moved page User:IlL/Verse:Irta/Music to Verse:Irta/Music without leaving a redirect

← Older revision	Revision as of 03:56, 19 December 2022
(No difference)

IlL: /* Evolution */

2022-10-14T00:22:10Z

Evolution

← Older revision		Revision as of 00:22, 14 October 2022
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	== Primodality ==		== Primodality ==
	=== Evolution ===		=== Evolution ===
	Primodality is invented in Cualand. Like in our timeline, primodality is chord-scale theory applied to overtone scales. In Irta, chord-scale theory arises within the Irta Arab maqam tradition (which has a standardized abstract gamut) whereas the original maqam culture survives in other cultures such as Turkic and ~~Corsican~~ music.		Primodality is invented in Cualand. Like in our timeline, primodality is chord-scale theory applied to overtone scales. In Irta, chord-scale theory arises within the Irta Arab maqam tradition (which has a standardized abstract gamut) whereas the original maqam culture survives in other cultures such as Turkic and Midhirian music.

IlL: IlL moved page Verse:Irta/Music to User:IlL/Verse:Irta/Music without leaving a redirect

2022-09-15T19:43:24Z

IlL moved page Verse:Irta/Music to User:IlL/Verse:Irta/Music without leaving a redirect

← Older revision	Revision as of 19:43, 15 September 2022
(No difference)

IlL: /* Artistic movements and composers */ a different Fuxian

2022-07-10T12:41:24Z

Artistic movements and composers: a different Fuxian

← Older revision		Revision as of 12:41, 10 July 2022
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	**her 9th symphony introduces the pandiatonic style for the first time in Irta		**her 9th symphony introduces the pandiatonic style for the first time in Irta
	**Tricky violin concertos using modal figurations that stump violinists?		**Tricky violin concertos using modal figurations that stump violinists?
	*~~Wildworth~~ Kim, ethnomusicologist, microtonalist and author of a treatise proposing extended Pythagorean intonation		* Blesswise Kim, ethnomusicologist, microtonalist and author of a treatise proposing extended Pythagorean intonation
	**Introduces a Bosanquet-like layout which becomes controversial?		**Introduces a Bosanquet-like layout which becomes controversial?

IlL: /* Arabic */

2022-07-09T18:18:24Z

Arabic

← Older revision		Revision as of 18:18, 9 July 2022
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	== Arabic ==		== Arabic ==
	No maqam 3ajam in places that use a 17edo-based theory; Irta's maqam 3ajam comes from 5-limit ~~major~~ and Mixolydian in Irta Irish theory, often approximated with 34edo		No maqam 3ajam in places that use a 17edo-based theory; Irta's maqam 3ajam comes from 5-limit Ionian and Mixolydian in Irta Irish theory, often approximated with 34edo
	=== Majorcan ===		=== Majorcan ===
	Sean-nós style in Arabic maqams, this style is called ''γine'' /ˈʁɪnə/ (cognate to Maltese ''għana'') in Majorcan Arabic		Sean-nós style in Arabic maqams, this style is called ''γine'' /ˈʁɪnə/ (cognate to Maltese ''għana'') in Majorcan Arabic

IlL: /* Japanese */

2022-07-09T15:05:33Z

Japanese

← Older revision		Revision as of 15:05, 9 July 2022
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	idea: "what if maqams were pentatonic"		idea: "what if maqams were pentatonic"

	Irta Japanese music consists of various modes and melodic tropes called ''makān'' and ''āwāji''. Japanese ''makān''s are mostly pentatonic where certain notes are played with vibrato by default. For instance ''makān-i-Hirajōshi'' consists of the scale C D Eb G Ab with vibratos on the notes Eb and Ab. In addition there are non-octave ''makān''s like the "pentatonic" scale C D Eb G Ab Bb with vibratos on Eb and Bb.		Irta Japanese music consists of various modes and melodic tropes called ''makān'' and ''āwāji''. Japanese ''makān''s are mostly pentatonic where certain notes are played with vibrato by default. For instance ''makān-i-Hirajōshi'' consists of the scale C D Eb G Ab with vibratos on the notes Eb and Ab. In addition there are non-octave ''makān''s like the "pentatonic" scale C D Eb G Ab Bb with vibratos on Eb and Bb. There are also hexatonic ''makān''s that have Hiberno-Majorcan names and are inspired by Irish folk music.

	Irta Japanese "ajnas" are either trichords spanning a perfect fourth or tetrachords spanning a perfect fifth. An exception is ??? which spans a diminished fifth: C E F Gb.		Irta Japanese "ajnas" are either trichords spanning a perfect fourth or tetrachords spanning a perfect fifth. An exception is ??? which spans a diminished fifth: C E F Gb.

	~~Some ''makān''s have Hiberno-Majorcan names and are inspired by Irish folk music.~~

	== Arabic ==		== Arabic ==

IlL: /* Japanese */

2022-07-09T15:03:36Z

Japanese

← Older revision		Revision as of 15:03, 9 July 2022
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	Irta Japanese "ajnas" are either trichords spanning a perfect fourth or tetrachords spanning a perfect fifth. An exception is ??? which spans a diminished fifth: C E F Gb.		Irta Japanese "ajnas" are either trichords spanning a perfect fourth or tetrachords spanning a perfect fifth. An exception is ??? which spans a diminished fifth: C E F Gb.

			Some ''makān''s have Hiberno-Majorcan names and are inspired by Irish folk music.

	== Arabic ==		== Arabic ==

Praimhín: /* Cualand */

2022-07-09T10:04:54Z

Cualand

← Older revision		Revision as of 10:04, 9 July 2022
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	==Cualand==		==Cualand==
			===Anglo-Cualandian music===
			English Cualandian music is based on a modal framework in a roughly 12 tone scale, which evolved from early Second Remonitionist music in Irta. There are four main families of scales in use in this system:
			*The Lydian family, characterised by a sharpened 4th
			*The Ionian family, characterized by natural thirds and fourths
			*The Dorian family, characterized by a flat third
			*The Phrygian family, characterized by a flat second

	===Hebrew cantillation===		===Hebrew cantillation===
	Cantillation tropes in Cualand are diatonic, LCJI-based, or overtone scale-based. Some melodies use Locrian. Doctrinally Judaism is no more weird than the full range of Rabbinic Judaism in our timeline.		Cantillation tropes in Cualand are diatonic, LCJI-based, or overtone scale-based. Some melodies use Locrian. Doctrinally Judaism is no more weird than the full range of Rabbinic Judaism in our timeline.

Praimhín: /* Classical and Romantic music */

2022-07-09T09:58:58Z

Classical and Romantic music

← Older revision		Revision as of 09:58, 9 July 2022
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	Classical and Romantic music are very similar to our timeline.		Classical and Romantic music are very similar to our timeline.

			Todo: move fuzzy intonation elements to Cualand

	Triadic polyphony in Irta evolved mainly from folk adaptations of Second Remonitionist polyphony, with melodic tendencies as in our timeline's "expressive intonation" resulting in a roughly 12 tone division of the octave. A notable difference is that the piano isn't as prominent -- in contrast, string ensembles and voice are given precedence which makes the classical idea of intonation in Irta much more fluid than in our timeline, with theorists often acknowledging subtle variations of a note, and there are various proposals to explain intonation in Irtan classical music. Intonational variation correlates with:		Triadic polyphony in Irta evolved mainly from folk adaptations of Second Remonitionist polyphony, with melodic tendencies as in our timeline's "expressive intonation" resulting in a roughly 12 tone division of the octave. A notable difference is that the piano isn't as prominent -- in contrast, string ensembles and voice are given precedence which makes the classical idea of intonation in Irta much more fluid than in our timeline, with theorists often acknowledging subtle variations of a note, and there are various proposals to explain intonation in Irtan classical music. Intonational variation correlates with: