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The '''Naquian Empire''' ([[Naquian]]: '' | The '''Naquian Empire''' ([[Naquian]]: ''Otapacaz Nāquiz'' from PQ ''snākʷs'' 'homeland') was a major civilization in ancient [[Verse:Tricin/Txapoalli|Txapoalli.]] | ||
==Place names== | |||
==Place/person names== | |||
*Quintlopetl Ztelmīz or just Quintlopetl | *Quintlopetl Ztelmīz or just Quintlopetl | ||
*Cuancalli | *Cuancalli | ||
*Quēhtłoyoz | *Quēhtłoyoz: [[Naquian]] grammarian | ||
*Huichaltzah | *Huichaltzah: [[Naquian]] explorer, conlanger and playwright | ||
* | *Ztlathuimaz: a theater | ||
*Erencāhto: the Rencad, later became capital of [[Xaetjeon|Xaetjeonlowv]] | |||
==Theaterism== | |||
Naquian religion uses theater as a religious text. Plays are used to teach moral and religious lessons. Hence Talmans called it "Theaterism" ([[Eevo]]: ''binspyçáhvih'', [[Windermere]]: ''thngop lithgow''); the name stuck but scholars today consider it misleading, as theater is merely a medium by which the religion is taught. | |||
Naquian mythology was immensely complex with many characters and plot arcs. Originally epics were used to transmit this knowledge but plays began playing a much greater role in transmitting the stories in a memorable form. The scripts for the sacred plays meticulously specified not only words and gestures, but also props, costumes, staging, and Ancient Greek-style chorus commentary. Theological commentary consists mainly of analyzing the meanings of sacred plays. | |||
The Theaterist canon has different levels of plays teaching the same material, one level for children, one level for teens and one level for adults. | |||
===The law=== | |||
* morality, wisdom and advice: often fables, but choruses inject this kind of thing into anything | |||
* Todo: religion-specific rules such as "observe certain festivals and fasts"; this part is justified with Naquian national myths | |||
===The lore=== | |||
==Music== | |||
===Instruments=== | |||
===Tuning=== | |||
Ancient Naquian music uses a division of the perfect fifth into 4 or 8 equal parts. (The 8 equal parts tuning is very close to the 88 cents equal tuning.) Skellan composer [[Verse:Tricin/Rewhd Sgutsis|Rewhd Sgutsis]] noted that these scales fit nicely into a framework of 41 equal parts to the octave, though Talman music preferred 31edo at the time. | |||
Scales in steps of the 8 equal division of the fifth scale: | |||
*2 2 2 2 - 4edf | |||
*2 2 3 1 | |||
*3 1 3 1 | |||
Native sources describe the following system of naming intervals in this scale. | |||
*"Unison" | |||
*Minor second = 88 cents | |||
*Neutral second = 176 cents | |||
*Major second = Minor third = 264 cents | |||
*Neutral third = 352 cents | |||
*Major third = Minor fourth = 440 cents | |||
*Neutral fourth = 528 cents | |||
*Major fourth = 616 cents | |||
*Perfect fifth = 704 cents | |||
*Minor sixth = 792 cents | |||
*Neutral sixth = 880 cents | |||
*Major sixth = Minor seventh = 968 cents | |||
*Neutral seventh = 1056 cents | |||
*Major seventh = 1144 cents | |||
<!-- | |||
====To clean up==== | |||
<poem> | |||
early naquians could have started out with JI | |||
the difference between naquian music and etalocian music would be that the former cared more about "expressiveness" (kind of like the romantics) than harmony (making their approach to tuning more 'fluid') | |||
hence, peppermint tuning! | |||
that expressiveness could have come from theater | |||
whereas the etalocians value precision/purity of harmony more | |||
which is why the art song tradition emerged much later | |||
(like even the way the instruments are built in etalocin reflect a more structurally microtonal approach) | |||
that might have weird consequences for naquian "mathemusic" | |||
like, naquians may think of the scale in terms of rough 'pitch classes' (formalized by CS) | |||
</poem> | |||
<poem> | |||
some things that might arise in the actual music: | |||
1) heavy ornamentation (trills, yodeling, falsetto, vibrato ...) | |||
2) neutral third scales (Bruno Nettl found that infants experimenting with singing tend to use neutral thirds quite a bit) | |||
but no throat singing | |||
choral "polyphony" of a different kind (less focused on pure harmonies and more on "gestures") | |||
and Partch-style corporeality! | |||
folk music of course might use just intonation with instruments that use the overtone series (like the jaw harp and overtone flutes) | |||
the weird side effect is Etalocin doesn't have a "Partch figure" | |||
(because Partchian music is an ancient tradition) | |||
the Xaetjeon people collectively import it to Etalocin | |||
some instruments can start out as simple devices used to imitate natural phenomena (animal calls, wind, thunder ...) in theater | |||
then some clever modern Naquian would find a way to capture those effects on the ngjeomsam 😀 | |||
let's say the emphasis on neutral thirds leads to a rough division of the octave into 7 parts | |||
and a 27 tone octave (that's another neutral third MOS) | |||
though the closest i can get to 7edo in 27edo is 4 4 4 3 4 4 4 | |||
or 4 4 4 4 3 4 4 for a mode with a perfect fifth | |||
that gives me an idea for terminology | |||
each step in 7edo can be likened to a lunar cycle (divided into 4 parts, full moon, waning, new moon and waxing) | |||
there will be overlap between the "full moon" of the first step and the "waxing" part of the last step (since there are 27 and not 28 steps in the naquian octave) | |||
or the step that's subdivided into 3 can be considered "defective" | |||
this "micro"-subdivision is used in two places | |||
1) with instruments of fixed pitch | |||
2) in pedagogic methods so students can get a rough idea as to where the intervals lie | |||
(for students of voice and flexible pitch instruments) | |||
[RT theorist] could give the name '["Naquian tuning"]' to tetracot temperament 😀 | |||
or '["Naquian temperament"]' (a misnomer on many levels!) | |||
in fact a 7 step octave would make it possible for a notation a lot like our staff notation to be adopted in the naquosphere! (leaving etalocians with something symbolic like daseian?) | |||
a possible naquian notation | |||
the 27 tone "scale" | |||
(dots signify raising and lowering by discrete quantities, fancier shapes next to the notes are used for other ornaments) | |||
sounds like C Db Ed Fd(trilled with G) G->F#->G kind of | |||
often played as 1/1 21/20 5/4 9/7 3/2->10/7->3/2 on the sewvore | |||
</poem> | |||
--> | |||
===Rhythm=== | |||
===Styles and forms=== | |||
===Notation=== | |||
[[Category:Tricin]] | [[Category:Tricin]] | ||
Latest revision as of 19:47, 25 January 2023
The Naquian Empire (Naquian: Otapacaz Nāquiz from PQ snākʷs 'homeland') was a major civilization in ancient Txapoalli.
Place/person names
- Quintlopetl Ztelmīz or just Quintlopetl
- Cuancalli
- Quēhtłoyoz: Naquian grammarian
- Huichaltzah: Naquian explorer, conlanger and playwright
- Ztlathuimaz: a theater
- Erencāhto: the Rencad, later became capital of Xaetjeonlowv
Theaterism
Naquian religion uses theater as a religious text. Plays are used to teach moral and religious lessons. Hence Talmans called it "Theaterism" (Eevo: binspyçáhvih, Windermere: thngop lithgow); the name stuck but scholars today consider it misleading, as theater is merely a medium by which the religion is taught.
Naquian mythology was immensely complex with many characters and plot arcs. Originally epics were used to transmit this knowledge but plays began playing a much greater role in transmitting the stories in a memorable form. The scripts for the sacred plays meticulously specified not only words and gestures, but also props, costumes, staging, and Ancient Greek-style chorus commentary. Theological commentary consists mainly of analyzing the meanings of sacred plays.
The Theaterist canon has different levels of plays teaching the same material, one level for children, one level for teens and one level for adults.
The law
- morality, wisdom and advice: often fables, but choruses inject this kind of thing into anything
- Todo: religion-specific rules such as "observe certain festivals and fasts"; this part is justified with Naquian national myths
The lore
Music
Instruments
Tuning
Ancient Naquian music uses a division of the perfect fifth into 4 or 8 equal parts. (The 8 equal parts tuning is very close to the 88 cents equal tuning.) Skellan composer Rewhd Sgutsis noted that these scales fit nicely into a framework of 41 equal parts to the octave, though Talman music preferred 31edo at the time.
Scales in steps of the 8 equal division of the fifth scale:
- 2 2 2 2 - 4edf
- 2 2 3 1
- 3 1 3 1
Native sources describe the following system of naming intervals in this scale.
- "Unison"
- Minor second = 88 cents
- Neutral second = 176 cents
- Major second = Minor third = 264 cents
- Neutral third = 352 cents
- Major third = Minor fourth = 440 cents
- Neutral fourth = 528 cents
- Major fourth = 616 cents
- Perfect fifth = 704 cents
- Minor sixth = 792 cents
- Neutral sixth = 880 cents
- Major sixth = Minor seventh = 968 cents
- Neutral seventh = 1056 cents
- Major seventh = 1144 cents