Verse:Hmøøh/Etsoj Jopah: Difference between revisions
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Jopah's understanding of tuning was more metaphysical than practical. He believed that ancient Talman philosophy, music and languages were unified. He often went beyond the texts and turned to the ancient Tigol, Windermere and Thensarian languages themselves for musical and philosophical ideas. | Jopah's understanding of tuning was more metaphysical than practical. He believed that ancient Talman philosophy, music and languages were unified. He often went beyond the texts and turned to the ancient Tigol, Windermere and Thensarian languages themselves for musical and philosophical ideas. | ||
For example Jopah proposed a novel 31 tone scale in his commentary on Sondmorið which is directly influenced by the Tigol consonant system with three parallel lattices consisting of 9, 14 and 8 notes, paralleling Tigol's 14 plain consonants, 8 eclipses and 9 lenitions. | For example Jopah proposed a novel 31 tone scale in his commentary on Sondmorið which is directly influenced by the Tigol consonant system with three parallel lattices consisting of 9, 14 and 8 notes, paralleling Tigol's 14 plain consonants, 8 eclipses and 9 lenitions. The remarkable thing about this scale was that it consisted of 31 roughly equal divisions to the octave. | ||
=Works= | =Works= | ||
Revision as of 07:40, 18 February 2018
Etsoj Jopah (pseudonym Lothair Raeḋḃa) was a Naquian author and philosopher. He's known for his contributions to Talman music theory.
Todo
Need more Snialism
Post-Gariad, post-war
Personality
Traits: Outgoing and witty, and a little pedantic at times
Languages: Tizian (native), Sjowaazheñ, Eevo, Anvirese and Rhythoed (fluent), Tigol, Tamil, Windermere and Thensarian (can read)
Biographical sketch
Jopah taught at various universities in Talma and Naquiz.
Contributions
Tuning theory
His (commentary on Sondmorið) described a wide variety of just intonation tunings, including:
- eikosanies and other CPS's
- constant structures
- cross sets
Jopah's work laid the foundation for Talman music in the last three centuries. In particular, his work on constant structures inspired Rhooc Askuucis's subsequent work on equal temperaments.
It's remarkable that Jopah composed very little during his lifetime; only one piece of his survives, Tłüa thrăhoy id-Eal mi-Wă'ech (meaning? should be a sentence). However, Jopah's poetry is very popular in modern Talma and has been set to music by quite a few composers; most notably the Clofabian composer Abediterol Benadryl.
Jopah's understanding of tuning was more metaphysical than practical. He believed that ancient Talman philosophy, music and languages were unified. He often went beyond the texts and turned to the ancient Tigol, Windermere and Thensarian languages themselves for musical and philosophical ideas.
For example Jopah proposed a novel 31 tone scale in his commentary on Sondmorið which is directly influenced by the Tigol consonant system with three parallel lattices consisting of 9, 14 and 8 notes, paralleling Tigol's 14 plain consonants, 8 eclipses and 9 lenitions. The remarkable thing about this scale was that it consisted of 31 roughly equal divisions to the octave.
Works
- The Songbird: a play
- (a poetry anthology)
- A History of Vegetarianism
- [some windermere compound word]: a critical essay on the Sondmorið Manuscripts
- (motivational lectures); officially part of his The Songbird but often treated as a separate work
- The Anatomy of Song; which included an analysis of the Naquian music of his time in terms of just intonation ratios