Literature talk:Little Red Riding Hood: Difference between revisions
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*5 + 5 + 5 could work too | *5 + 5 + 5 could work too | ||
===Origins=== | ===Origins=== | ||
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 | 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: | ||
C D F G A C | |||
It is thought that Wiobian musicians in the "Wiobian Renaissance" started demanding more noteworthy sounds, such as major thirds (5/4), and a "major seventh" to serve as a leading tone. | |||
C D F G A C | |||
E\| B\| | |||
===Development=== | ===Development=== | ||
===Modern=== | ===Modern=== | ||
Modern renditions of canonical Wiobian traditional music often default to 15 tone equal temperament; that is, every step of the 15-note scale is spaced exactly equally. However, historically the tuning had more nuances. | Modern renditions of canonical Wiobian traditional music often default to 15 tone equal temperament; that is, every step of the 15-note scale is spaced exactly equally. However, historically the tuning had more nuances. | ||
Revision as of 00:58, 31 July 2015
Traditional Wiobian music is melodious with relatively sparse accompaniment, often having two melodic voices in counterpoint for high-class music, though more recent music often calls for more dense orchestration. (read: cobbled together from gamelan, Southeast Asian and Baroque influences. Some Korean stuff will 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.
Musics of neighboring cultures such as Trây music are broadly similar.
Musical forms
Instruments
How could instruments accomodate 15 notes per octave?
Idiophones
The idiophones are:
- metallophones (Ɉürl-Zrong-Smiḥ) and marimbas (Geim-Zrong-Smiḥ)
Zrong-Smiḥ
A suitably modern Zrong-Smiḥ is made up of three parallel rows of keys tuned in equally spaced pentatonic scales.
String instruments
Wind instruments
Tuning and scales
- 8 + 7 is the most space-saving layout, ∴ porcupine?
- 5 + 5 + 5 could work too
Origins
The Wiobian tuning system has its origins in the quasi-equal pentatonic scale, found in our world in e.g. gamelan music - this system is described in Classical Wiobian records:
C D F G A C
It is thought that Wiobian musicians in the "Wiobian Renaissance" started demanding more noteworthy sounds, such as major thirds (5/4), and a "major seventh" to serve as a leading tone.
C D F G A C
E\| B\|
Development
Modern
Modern renditions of canonical Wiobian traditional music often default to 15 tone equal temperament; that is, every step of the 15-note scale is spaced exactly equally. However, historically the tuning had more nuances.