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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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== 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. |
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