7,731
edits
Verse:Irta/Music: Difference between revisions
→Classical and Romantic music
No edit summary Tags: Mobile edit Mobile web edit |
Tags: Mobile edit Mobile web edit |
||
| Line 59: | Line 59: | ||
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: | ||
* scalar and harmonic context, | * the placement of notes within a phrase, as well as scalar and harmonic context, | ||
* mood, and | * mood, and | ||
* region (e.g. western parts of Hyperfrance use wider leading tones and narrower fifths compared to Riphea). This makes it especially hard for Irtan classical composers to codify an intonational system. | * region (e.g. western parts of Hyperfrance use wider leading tones and narrower fifths compared to Riphea). This makes it especially hard for Irtan classical composers to codify an intonational system. | ||