|
|
| (51 intermediate revisions by the same user not shown) |
| Line 1: |
Line 1: |
| '''Shalia''' ([[Shalian]]: ''Shalıarjów'tıowikh'' /ʃælʲəˈdʒəʊʔtʲəwɪx/ lit. 'Shalı country') is a country in Eastern Txapoalli. Its official language is [[Shalian]].
| |
|
| |
|
| ==Music==
| |
| ===Instruments===
| |
| The most important instrument in Shalian music is the human voice. Instruments such as guitars, Talman fiddles, violins, pianos, kanteles and various percussion instruments are also used.
| |
|
| |
| The Shalian kantele (''wáirdıan'') is traditionally tuned to a 10 note scale but the 10 notes can be changed on the fly. Most modern ''wáirdıan''s have levers fixed to 22edo while some (used for "avant-garde" music) can make finer adjustments.
| |
|
| |
| Vocal polyphony (''sar-nóoslownth'' 'group singing') is an important part of Shalian music, especially in ceremonies such as coming of age parties, weddings, festivities, and funerals. Troupes of singers are trained from a young age to harmonize, vocalize rhythms, clap, snap their fingers and make various gestures. Sung music reflects the glottal stops, stress accent and long-short rhythms of the Shalian language.
| |
|
| |
| Solo vocal music (''amáh-nóoslownth'' 'mother's song') is also sung and is usually transmitted. Composed solo vocal music (''jái'mer-nóoslownth'' 'exquisite singing'), to the contrary, was traditionally upper class music as opposed to folk music.
| |
|
| |
| ===Tuning===
| |
| Shalian music is based on [http://sethares.engr.wisc.edu/paperspdf/Erlich-22.pdf decatonic scales], which are built on
| |
|
| |
| # 7-limit tempered pentatonic scales which are commonly used to build tension, and
| |
| # septimal tetrads (esp. voicings of 4:5:6:7) which may be used as harmonic resolutions.
| |
|
| |
| The scales are modes (possibly with chromatic modifications) of
| |
| *pentachordal: G G#v A Bv C C#v D Ev F F#v G
| |
| *symmetric: G G#v A Bv C C#v D Eb^ F F#v G
| |
|
| |
| Old Shalian and Idosian sources describe a just intonation system based on ratios of 3 and 5, which was much like the system of 22 shrutis described in early Indian works.
| |
|
| |
| When tetrachords from Hetom became popular, Shalian scholar Bów'ti Asínsim ("Bów'ti the Swuntsim") tried to extend the early 22-note system to make it more compatible with playing various tetrachords found in Hetomic music theory. The result was a scale of 34 notes per octave.
| |
|
| |
| As Shalian music embraced vocal polyphony it saw a move away from tetrachords and towards more harmonic, chord-based sounds. Emphasizing JI ratios of 7 became desirable. Thus fixed pitch instruments were tuned to 22-note well-tempered scales with good harmonic sevenths. Modern Shalian music is standardized to 22-tone equal temperament, which does not always reflect musical reality exactly, as unaccompanied Shalian polyphonic vocal music is intoned more accurately and sometimes uses bends.
| |
|
| |
| ====Consonance and dissonance====
| |
| Consonant:
| |
| *perfect fifth and fourth
| |
| *5/4 and 6/5
| |
| *9/8~8/7 and 7/6
| |
| *tritone or half-octave
| |
| Semi-consonant:
| |
| *16/15 and 10/9
| |
| Dissonant:
| |
| *9/7
| |
| *11/8 and 16/11
| |
| *1-step and 21-step intervals
| |
|
| |
| Triads may be considered stable in some contexts but they are more often used to "modulate" rather than to stabilize.
| |
|
| |
| Of the decatonic 1-4-7-9 tetrads, 4:5:6:7 is considered the most consonant tetrad, followed by the minor tetrad 1/(4:5:6:7), followed by other types.
| |