Verse:Irta/Music: Difference between revisions

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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
-== Tsarfati ==
-[[Tsarfati]] music is stylistically halfway between our Ashkenazi music (due to Irta Eastern European music being similar to our timeline's) and Irish folk music, and influenced First Remonitionist music.
-Before the Tsarfati Enlightenment, rhythmic elements from Irish prosody, such as Scotch snaps, used to be considered a regionalism, because most dialects of Ăn Yidiș do not have vowel length. However, during the Tsarfati Enlightenment period, Irta Irish elements including Irish prosody became a trend. This was less strong in areas where Hasidism was popular.
-Older Tsarfati styles, particularly cantillation tropes, are the source of Gregorian chant melodies in Irta.
-=== Tuning ===
-Intonation often happens by ear and is not necessarily JI-based (cf. maqam music). Tuning systems used differ by the individual community. Fixed pitch instruments use various overtone scales and detempered 34edo. Neutral intervals are commonly used as in maqam.
-Liturgy uses diatonic or maqam modes:
-* Torah readings use Mixolydian or Jiharkah
-* Haftarot use Aeolian or Nairuz
-* Non-Eicha Megillot use Dorian or Rast
-** Esther uses this melody (except parts where the Eicha melody is used): https://www.virtualcantor.com/Esther1.mp3
-* Eicha uses Phrygian or Bayati
-* Most blessings use the same scales as our Ashkenazim do
-** Freygish may be similar to 17edo's 1423133
-* Some blessings and prayers use a tuning of Lydian with a supermajor 3rd
-Todo: Cantillation tropes
-=== Folk music ===
-Tsarfati Jewish folk songs are known as טאָנתּאן ''dontăn'' in [[Ăn Yidiș]] (singular טאָן ''don''; cognate to Irish ''dán'' 'poem (among other meanings)'). They may be in Ăn Yidiș or in a macaronic mixture of Ăn Yidiș, Hebrew, and other languages. They have some traditional Hivantish, our timeline's Eastern European, and our timeline's Irish elements but are unique. Like in our timeline, Hasidic Judaism is also an influence with its emphasis on dancing, devotion, and wordless melodies.
-Instruments from Gaelic music:
-* ''pib-ilăn'' - uilleann pipes
-* ''fehăł'' (from in-universe OIr **fethal, from Early Romance *vitola) - fiddle
-* ''cłorșăch'' - a version of the Welsh triple harp adapted to common Tsarfati scales (If you say "Jew's harp" in Irta they'd likely think you mean this.)
-Instruments from Hivantish music:
-* ''șeyņăł'' - kantele
-Other instruments, often used in larger ensembles:
-* harpsichord -- a staple of Irta klezmer
-* organ
-* tromba marina and horns for harmonic series scales
-Modern cłorșăchăn are usually electro-acoustic.
 ==Talma==
@@ Line 171: / Line 132: @@
 == Primodality ==
 === 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 Corsican music.
+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.