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'''Qaaroshter''' is a country in Northeastern Etalocin where [[Roshterian]] is spoken. Its capital is Hiaminooḻ. | '''Qaaroshter''' is a country in Northeastern Etalocin where [[Roshterian]] is spoken. Its capital is Hiaminooḻ. | ||
==Music== | |||
[[Wiobian|↑ Wiobian]] | |||
Traditional Wiobian music places much emphasis on melody, often having two melodic voices in counterpoint for high-class music, though more modern music often calls for more dense orchestration. (read: cobbled together from gamelan, Southeast Asian and Baroque influences. Some Korean stuff will probably 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 "black and white" layout, ∴ porcupine? | |||
*5 + 5 + 5 could work too | |||
===Origins and development=== | |||
Long story short: | |||
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 | |||
Then, Wiobian musicians in the "Wiobian Renaissance" started experimenting with more "interesting" sounds, such as major thirds (5/4, ~400¢), and a "major seventh" to serve as a leading tone: | |||
C D F G A C | |||
E\| B\| | |||
Coincidentally, the major third was a leading tone to F and the major seventh was a major third to G! Exploiting this fact, leading tones were successively added under each note of the equal pentatonic scale, eventually resulting in: | |||
C D F G A C | |||
D\| E\| G\| A\| B\| | |||
Later, more dense orchestration increased the demand for chromatic movements. Thus eventually the full 15-tone gamut was complete: | |||
C/| D/| F/| G/| A/| | |||
C D F G A C | |||
D\| E\| G\| A\| B\| | |||
===Tuning method=== | |||
===Modern=== | |||
====Nominal names==== | |||
*''do'' - 0\15 | |||
*''ko'' - 3\15 | |||
*''lo'' - 5\15 | |||
*''go'' - 6\15 | |||
*''wo'' - 9\15 | |||
*''dżo'' - 11\15 | |||
*''no'' - 12\15 | |||
*''cho'' - 14\15 | |||
*''do'' - 15\15 |
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