Verse:Hmøøh/Talma/Music: Difference between revisions

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[rewrite, with less focus on rank 2 RTs. Tho rank 2 theory might still be used for isomorphic keyboard design?]

The classical Etalocian musical tradition abstractly considers the space of possible musical intervals as approximating the intervals with rational frequency ratios. Prime factors commonly used in intervals, in addition to 3 and 5, also include 7, 11, 13 and higher limits. There are broadly two approaches to this tuning, the choice of which is partly dictated by instrumentation: just intonation (possibly microtempered) and various equal temperaments.

The classical Etalocian musical tradition abstractly considers the space of possible musical intervals as approximating the intervals with rational frequency ratios. Prime factors commonly used in intervals, in addition to 3 and 5, also include 7, 11, 13 and higher limits. There are broadly two approaches to this tuning, the choice of which is partly dictated by instrumentation and style: just intonation (possibly microtempered) and various equal temperaments.

Just intonation was initially an attractive choice as it was considered easy to tune and evaluate musicians on. Primes higher than 5 may have come from an early tradition of throat singing where having a deep voice and the ability to throat-sing higher harmonics (11-14) clearly was seen as a mark of masculinity. In summary, a major reason that this system of just intervals survived as a mainstay of Etalocian music was likely that maintaining it (without collapsing it to e.g. the common pentatonic scale) functioned as a status symbol.

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 [rewrite, with less focus on rank 2 RTs. Tho rank 2 theory might still be used for isomorphic keyboard design?]
-The classical Etalocian musical tradition abstractly considers the space of possible musical intervals as approximating the intervals with rational frequency ratios. Prime factors commonly used in intervals, in addition to 3 and 5, also include 7, 11, 13 and higher limits. There are broadly two approaches to this tuning, the choice of which is partly dictated by instrumentation: just intonation (possibly microtempered) and various equal temperaments.
+The classical Etalocian musical tradition abstractly considers the space of possible musical intervals as approximating the intervals with rational frequency ratios. Prime factors commonly used in intervals, in addition to 3 and 5, also include 7, 11, 13 and higher limits. There are broadly two approaches to this tuning, the choice of which is partly dictated by instrumentation and style: just intonation (possibly microtempered) and various equal temperaments.
 Just intonation was initially an attractive choice as it was considered easy to tune and evaluate musicians on. Primes higher than 5 may have come from an early tradition of throat singing where having a deep voice and the ability to throat-sing higher harmonics (11-14) clearly was seen as a mark of masculinity. In summary, a major reason that this system of just intervals survived as a mainstay of Etalocian music was likely that maintaining it (without collapsing it to e.g. the common pentatonic scale) functioned as a status symbol.