Xaetjeon: Difference between revisions

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=Naquian music=
'''Xaetjeon''' (from ''in huēyacaz Tłhēhtximiz'') is a Naquic language.
==Instruments==
==Tuning==
Naquian music uses 7-tone scales rich in neutral thirds. Scales are abstractly viewed as subsets of a scale with 27 roughly equal steps per octave. The 3L 4s MOS scale (5 3 3 5 3 5 3) may be used, but they use other, non-MOS 7-note scales as well. The quasi-equal 6L 1s MOS scale (4 4 4 4 4 4 3) in 27edo is mainly used as a reference point rather than as an actual musical scale, in that notation is based on the 6L 1s scale in the same way that Western notation is based on the diatonic scale.


Movement by one step of 27edo is usually avoided, since it is considered difficult to sing.
==Phonology==
Rencadian (''Erehcādoz'') Xaetjeon has the following phonology.


Historically other micro-divisions have been used or proposed - especially 27-well temperaments, 17-well temperaments or 17-equal.
===Consonants===
<!--
{| class="wikitable"
====To clean up====
|-
<poem>
!  !! Labial !! Dental !! Alveolar !! Lateral !! Postalveolar !! Palatal !! Velar !! Glottal
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')
| Aspirated Stop/Affricate || p /pʰ/ || t /tʰ/ || ts /tsʰ/ || tq /tɬʰ/ || tj /tʃʰ/ ||  || c /kʰ/ || 
hence, peppermint tuning!
|-
that expressiveness could have come from theater
| Unaspirated Stop/Affricate || b /p/ || d /t/ || dz /ts/ || dx /tɬ/ || dj /tʃ/|| || g /k/||
whereas the etalocians value precision/purity of harmony more
|-
which is why the art song tradition emerged much later
| Voiceless Fricative || f /f/ || th /θ/|| s /s/ || q /ɬ/|| sj /ʃ/ || || ch /x/ || h /h/
(like even the way the instruments are built in etalocin reflect a more structurally microtonal approach)
|-
that might have weird consequences for naquian "mathemusic"
| Voiced Fricative || v /v/ || dh /ð/|| z /z/|| x /ɮ/ || zj /ʒ/|| || gh /ɣ/||
like, naquians may think of the scale in terms of rough 'pitch classes' (formalized by CS)
|-
</poem>
| Nasal || m /m/|| n /n/|| || || || || ng /ŋ/ ||
<poem>
|-
some things that might arise in the actual music:
| Approximant ||  || || || l /ɫ/|| || y /j/|| w /w/||
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)
| Voiced Trill ||  || || r /r/ || || || || ||
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
;Notes
the 27 tone "scale"
*In casual speech, the unaspirated stops and affricates /p t ts tɬ tʃ k/ are voiced intervocalically to [b d dz dɮ dʒ ɡ].
(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==
 
=Derkha and Tzaloxic music=
Trây music uses inharmonic quasi-equal tunings of e.g. 5, 7, 9 notes per octave. As such, inharmonic instruments like marimbas and metallophones predominate.
 
==!Zoom music==
Instruments: Drums, metallophones, lithophones, voice
 
Tuning: 10-tone equal temperament. Zoomers use tonal harmony and modulations based on the 3L 4s MOS scale (2 1 1 2 1 2 1).

Latest revision as of 16:42, 18 July 2019

Xaetjeon (from in huēyacaz Tłhēhtximiz) is a Naquic language.

Phonology

Rencadian (Erehcādoz) Xaetjeon has the following phonology.

Consonants

Labial Dental Alveolar Lateral Postalveolar Palatal Velar Glottal
Aspirated Stop/Affricate p /pʰ/ t /tʰ/ ts /tsʰ/ tq /tɬʰ/ tj /tʃʰ/ c /kʰ/
Unaspirated Stop/Affricate b /p/ d /t/ dz /ts/ dx /tɬ/ dj /tʃ/ g /k/
Voiceless Fricative f /f/ th /θ/ s /s/ q /ɬ/ sj /ʃ/ ch /x/ h /h/
Voiced Fricative v /v/ dh /ð/ z /z/ x /ɮ/ zj /ʒ/ gh /ɣ/
Nasal m /m/ n /n/ ng /ŋ/
Approximant l /ɫ/ y /j/ w /w/
Voiced Trill r /r/
Notes
  • In casual speech, the unaspirated stops and affricates /p t ts tɬ tʃ k/ are voiced intervocalically to [b d dz dɮ dʒ ɡ].
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