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| ==Music==
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| [[Wiobian|↑ Wiobian]]
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| Traditional Wiobian music places much emphasis on melody, often having two melodic voices in counterpoint for high-class music, though more modern music often calls for more dense orchestration. (read: cobbled together from gamelan, Southeast Asian and Baroque influences. Some Korean stuff will probably get in too) The music is based on a scale with fifteen notes per octave, that is capable of both small movements in melody and harmonic shifts ranging from the subtle to the dramatic. A wealth of inharmonic instruments such as metallophones (Ɉürl-Zrong-Smiḥ), marimbas (Geim-Zrong-Smiḥ), cymbals and drums serve as ingredients for this sonic landscape. However also valued are harmonic instruments (such as stringed instruments e.g. the plucked or bowed zither-like ''Tünd'', the strummed and fretted ''Þaus-Bung'', and the bowed ''Nisch&Ker''; as well as fixed-pitch wind instruments; and last but not least the human voice), for their ability to imitate the human voice and to emphasize canonically harmonic intervals.
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| Musics of neighboring cultures such as Trây music are broadly similar.
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| ==Musical forms==
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| ==Instruments==
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| How could instruments accomodate 15 notes per octave?
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| ===Idiophones===
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| The idiophones are:
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| * metallophones (''Ɉürl-Zrong-Smiḥ'') and marimbas (''Geim-Zrong-Smiḥ'')
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| ====''Zrong-Smiḥ''====
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| A suitably modern ''Zrong-Smiḥ'' is made up of three parallel rows of keys tuned in equally spaced pentatonic scales.
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| ===String instruments===
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| ===Wind instruments===
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| ==Tuning and scales==
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| *8 + 7 is the most space-saving "black and white" layout, ∴ porcupine?
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| *5 + 5 + 5 could work too
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| ===Origins and development===
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| Long story short:
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| The Wiobian tuning system has its origins in the quasi-equal pentatonic scale, found in our world in e.g. [[w:gamelan|gamelan]] music - this system is described in Classical Wiobian records:
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| C D F G A C
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| Then, Wiobian musicians in the "Wiobian Renaissance" started experimenting with more "interesting" sounds, such as major thirds (5/4, ~400¢), and a "major seventh" to serve as a leading tone:
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| C D F G A C
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| E\| B\|
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| Coincidentally, the major third was a leading tone to F and the major seventh was a major third to G! Exploiting this fact, leading tones were successively added under each note of the equal pentatonic scale, eventually resulting in:
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| C D F G A C
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| D\| E\| G\| A\| B\|
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| Later, more dense orchestration increased the demand for chromatic movements. Thus eventually the full 15-tone gamut was complete:
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| C/| D/| F/| G/| A/|
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| C D F G A C
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| D\| E\| G\| A\| B\|
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| ===Tuning method===
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| ===Modern===
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| ====Nominal names====
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| *''do'' - 0\15
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| *''ko'' - 3\15
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| *''lo'' - 5\15
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| *''go'' - 6\15
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| *''wo'' - 9\15
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| *''dżo'' - 11\15
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| *''no'' - 12\15
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| *''cho'' - 14\15
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| *''do'' - 15\15
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