Verse:Hmøøh/Etsoj Jopah: Difference between revisions
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It's remarkable that Jopah composed very little during his lifetime; only one piece of his survives, ''Tłüa thrăhoy id-Eal mi-Wă'ech'' (meaning? should be a sentence). However, Jopah's poetry is very popular in modern Talma and has been set to music by quite a few composers; most notably the Clofabian composer Abediterol Benadryl. | It's remarkable that Jopah composed very little during his lifetime; only one piece of his survives, ''Tłüa thrăhoy id-Eal mi-Wă'ech'' (meaning? should be a sentence). However, Jopah's poetry is very popular in modern Talma and has been set to music by quite a few composers; most notably the Clofabian composer Abediterol Benadryl. | ||
Jopah's understanding of tuning was more metaphysical than practical. He believed that ancient Talman philosophy, music and languages were unified. He often went beyond the texts and turned to the ancient Tigol, Windermere and Thensarian languages themselves for musical and philosophical ideas. For example Jopah proposed a novel 31 tone scale in his commentary on Sondmorið which is directly influenced by the Tigol consonant system. The remarkable thing about this scale was that it consisted of 31 roughly equal divisions to the octave. | Jopah's understanding of tuning was more metaphysical than practical. He believed that ancient Talman philosophy, music and languages were unified. He often went beyond the texts and turned to the ancient Tigol, Windermere and Thensarian languages themselves for musical and philosophical ideas. For example Jopah proposed a novel 31 tone scale: | ||
1/1 36/35 135/128 16/15 35/32 9/8 8/7 7/6 6/5 128/105 5/4 9/7 21/16 4/3 48/35 45/32 64/45 35/24 3/2 32/21 14/9 8/5 105/64 27/16 12/7 7/4 | |||
16/9 64/35 15/8 27/14 63/32 2/1 | |||
in his commentary on Sondmorið which is directly influenced by the Tigol consonant system. The remarkable thing about this scale was that it consisted of 31 roughly equal divisions to the octave. | |||
=Works= | =Works= | ||