Verse:Chlouvānem Inquisition: Difference between revisions

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* '''Laneika''' (a term with origins in the Northern Plain) is the musical style most influenced by Chlouvānem classical music, even if it is markedly polyphonic; it has, especially in instrumentation and structure, some resemblances to what Qawwali sounds like on Earth. Laneika "songs" are typically long (ten minutes is a common length), and are played by ensembles of four to a dozen of musicians, with usually at least half of them singing; the Chlouvānem harmonium (''pamilairāh'') and the berimbau-like ''ḍaltaka'' are characteristic of laneika, but many other instruments, especially percussions and flutes, are found.

* '''Mūṃjas''', as its name — a portmanteau of ''mūmikta'' (dance) and ''lijas'' (song) — says, is a very danceable style, with its origins in the Central Plain. Mūṃjas songs are much shorter than laneika ones, and are heavy on percussions and string instruments (picked and percussive ones), particularly the typically Chlouvānem ones with sympathetic strings, that give this musical style its distinctive sound. Unlike other styles, in mūṃjas there is less emphasis on lyrics, and often the voice is used just as an instrument, with recurring rhythmic chants made of meaningless syllables.

* '''Kerachomā''' is a very different style and has its origins in older ~~Kans-Tsan~~ folk music from the East. As such, its typical instrumentation is different from other styles (even if today there is more experimentation and both traditional Plain Chlouvānem instruments and electronic ones are used): with an emphasis on guitar (imported in its shape and sound from Greater Skyrdagor, even if the Calemerian guitar is probably a Qualdomelic invention) and harmonica, it does sound somewhat like 50s country music; lyrically, it is often "freer" than other styles, having less of an emphasis on devotional lyrics (as for example ''laneika'' music does).

* '''Kerachomā''' is a very different style and has its origins in older Toyubeshian folk music from the East. As such, its typical instrumentation is different from other styles (even if today there is more experimentation and both traditional Plain Chlouvānem instruments and electronic ones are used): with an emphasis on guitar (imported in its shape and sound from Greater Skyrdagor, even if the Calemerian guitar is probably a Qualdomelic invention) and harmonica, it does sound somewhat like 50s country music; lyrically, it is often "freer" than other styles, having less of an emphasis on devotional lyrics (as for example ''laneika'' music does).

While reinterpretation of older, traditional folk songs is a classical, especially in mūṃjas and laneika, there are many singer-songwriters in all styles; an example could be the most iconic Chlouvānem musician of the last century, Banditiāvi Kaihanųu ''Dalaigin'', a native Tariatindī but trained into laneika music, who has not only been a prolific laneika composer - so much that some of his pieces are true classics of the genre today - but has also experimented in other genres and in instrumentation, having introduced into laneika unconventional and electronic instruments. He was so popular that his sudden death in his 51st year of age shocked the whole country, with 600,000 people gathering in Tariatindē to bring homage to his funeral pyre.

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 * '''Laneika''' (a term with origins in the Northern Plain) is the musical style most influenced by Chlouvānem classical music, even if it is markedly polyphonic; it has, especially in instrumentation and structure, some resemblances to what Qawwali sounds like on Earth. Laneika "songs" are typically long (ten minutes is a common length), and are played by ensembles of four to a dozen of musicians, with usually at least half of them singing; the Chlouvānem harmonium (''pamilairāh'') and the berimbau-like ''ḍaltaka'' are characteristic of laneika, but many other instruments, especially percussions and flutes, are found.
 * '''Mūṃjas''', as its name — a portmanteau of ''mūmikta'' (dance) and ''lijas'' (song) — says, is a very danceable style, with its origins in the Central Plain. Mūṃjas songs are much shorter than laneika ones, and are heavy on percussions and string instruments (picked and percussive ones), particularly the typically Chlouvānem ones with sympathetic strings, that give this musical style its distinctive sound. Unlike other styles, in mūṃjas there is less emphasis on lyrics, and often the voice is used just as an instrument, with recurring rhythmic chants made of meaningless syllables.
-* '''Kerachomā''' is a very different style and has its origins in older Kans-Tsan folk music from the East. As such, its typical instrumentation is different from other styles (even if today there is more experimentation and both traditional Plain Chlouvānem instruments and electronic ones are used): with an emphasis on guitar (imported in its shape and sound from Greater Skyrdagor, even if the Calemerian guitar is probably a Qualdomelic invention) and harmonica, it does sound somewhat like 50s country music; lyrically, it is often "freer" than other styles, having less of an emphasis on devotional lyrics (as for example ''laneika'' music does).
+* '''Kerachomā''' is a very different style and has its origins in older Toyubeshian folk music from the East. As such, its typical instrumentation is different from other styles (even if today there is more experimentation and both traditional Plain Chlouvānem instruments and electronic ones are used): with an emphasis on guitar (imported in its shape and sound from Greater Skyrdagor, even if the Calemerian guitar is probably a Qualdomelic invention) and harmonica, it does sound somewhat like 50s country music; lyrically, it is often "freer" than other styles, having less of an emphasis on devotional lyrics (as for example ''laneika'' music does).
 While reinterpretation of older, traditional folk songs is a classical, especially in mūṃjas and laneika, there are many singer-songwriters in all styles; an example could be the most iconic Chlouvānem musician of the last century, Banditiāvi Kaihanųu ''Dalaigin'', a native Tariatindī but trained into laneika music, who has not only been a prolific laneika composer - so much that some of his pieces are true classics of the genre today - but has also experimented in other genres and in instrumentation, having introduced into laneika unconventional and electronic instruments. He was so popular that his sudden death in his 51st year of age shocked the whole country, with 600,000 people gathering in Tariatindē to bring homage to his funeral pyre.