Glommish/Musical system

Music in Thedish speaking cultures differed strongly depending on region; Italian Thedish music was closer to European musical styles whereas North African Thedish music had more in common with Middle Eastern musical styles. Both styles are common among Thedes today.

Musical terms

Thedish musicians prefer to translate or calque musical terms.

Italian Thedish music

slap = piano (soft)

stark = forte (loud)

fanþiend = andante (walking)

pik = allegro, vivace (lively)

úthużengfól = expressive

slýþsam = adagio (slow)

snióen yncz = not rushed

þí spriakstamnie = Sprechstimme

þí simbskapie = chorus

North African Thedish music

żard = maqam

Maqam names used in Thedish music aren't translated: Rást, Baját, Ażem, Kurd, Syká, Sabe, Hiżáz, Nahavend

Lõisian composers and theorists

• Ancz-Sievrien Béþь, early medieval author of An mūsikej (On Music)
• Hymarík Myna, medieval tuning theorist who proposed a division of the whole tone into 5
• Þyprík [something Brusingian], medieval composer of isorhythmic motets
• Andrie Hóchenhym, founder of the Smœ­̄hcroft movement in medieval music featuring complex rhythmic, harmonic and notational devices
• Valþerь av þier Fugelvyþe, Middle Thedish miénesimberь who wrote love and political songs
• Fráþvin Lióbacz, Thedish Smœ­̄hcroft composer, famous for his [suite] featuring klózele in various equal temperaments (from 10 to 20 notes per octave)
• (anonymous), author of Hlioþrъharpa, an elaborate 4-part canon written in the shape of a harp
• Filiep Glaz
• Biarhard Ytfield