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Verse:Irta/Music: Difference between revisions
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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: | ||
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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? | ||
* | * 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? | ||
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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. | ||
== Arabic == | == Arabic == | ||
No maqam 3ajam in places that use a 17edo-based theory; Irta's maqam 3ajam comes from 5-limit | 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 | ||
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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 | ||
==Talma== | ==Talma== | ||
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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. | ||
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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 | 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. | ||