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Verse:Hmøøh/Talma/Music: Difference between revisions
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The earliest Talman musical tradition was based on throat-singing. Primes higher than 5 may have come from an early tradition of throat singing where having a deep voice and the ability to throat-sing higher harmonics (11-14) clearly was seen as a mark of masculinity. | The earliest Talman musical tradition was based on throat-singing. Primes higher than 5 may have come from an early tradition of throat singing where having a deep voice and the ability to throat-sing higher harmonics (11-14) clearly was seen as a mark of masculinity. | ||
===Early Gweats Dynasty=== | ===Early Gweats Dynasty music=== | ||
Composer Tsăhong Tamdi's treatise [[Literature:Elements of Harmony|''Elements of Harmony'']], which describes Partchian tonality diamonds, came to codify Windermere imperial courtly music. In particular, he recommended against using fixed-pitch instruments, arguing that they were expressively limited. This recommendation was lasting in influence - most instruments used in traditional Talman music are flexible-pitch instruments. Since Mărotłism banned the killing of mammals but not of fish, fish glue and hoof glue could be used for repairs instead of hide glue. Hence viola organistas could still be commonly used in imperial Windermere music. | Composer Tsăhong Tamdi's treatise [[Literature:Elements of Harmony|''Elements of Harmony'']], which describes Partchian tonality diamonds, came to codify Windermere imperial courtly music. In particular, he recommended against using fixed-pitch instruments, arguing that they were expressively limited. This recommendation was lasting in influence - most instruments used in traditional Talman music are flexible-pitch instruments. Since Mărotłism banned the killing of mammals but not of fish, fish glue and hoof glue could be used for repairs instead of hide glue. Hence viola organistas could still be commonly used in imperial Windermere music. | ||
===''Săφnga cămχüüm''=== | ===''Săφnga cămχüüm''=== | ||
During the later Gweats era, there was a musical movement called ''săφnga cămχüüm'' ('subtly flowing art', much like our medieval era's ''ars subtilior'') which explored complex expressive beating and dissonance, reminiscent of La Monte Young's ''The Well-Tuned Piano''. | During the later Gweats era, there was a musical movement called ''săφnga cămχüüm'' ('subtly flowing art', much like our medieval era's ''ars subtilior'') which explored complex expressive beating and dissonance, reminiscent of La Monte Young's ''The Well-Tuned Piano''. | ||
===Fnüeng Dynasty=== | ===Early Fnüeng Dynasty music=== | ||
The Fnüeng era saw a return to earlier just intonation scales, such as otonal scales over a drone, or tonality diamonds. This period used more folk music influences. | The Fnüeng era saw a return to earlier just intonation scales, such as otonal scales over a drone, or tonality diamonds. This period used more folk music influences. | ||
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===Classical period=== | ===Classical period=== | ||
After the Jeodganite Revolution, some Ngronaist sects such as Hyðahism required strict vegetarianism (thus fish glue was not allowed), thus banning certain fixed pitch instruments like viola organistas and harpsichords. Composers started to use effectively free JI, with more modulation, with each scale playing a role like the tonic. | After the Jeodganite Revolution which led to the collapse of the Fnüeng Dynasty, some Ngronaist sects such as Hyðahism required strict vegetarianism (thus fish glue was not allowed), thus banning certain fixed pitch instruments like viola organistas and harpsichords. Composers started to use effectively free JI, with more modulation, with each scale playing a role like the tonic. | ||
Nationalism was a strong influence during the Classical period - many Talman national anthems were written during the classical period. | Nationalism was a strong influence during the Classical period - many Talman national anthems were written during the classical period. | ||