Verse:Hmøøh/Talma/Music: Difference between revisions
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=Talman music= | |||
[rewrite, with less focus on rank 2 RTs. Tho rank 2 theory might still be used for isomorphic keyboard design?] | [rewrite, with less focus on rank 2 RTs. Tho rank 2 theory might still be used for isomorphic keyboard design?] | ||
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*Throat-singing, natural horns, monochords lead to knowledge of higher harmonics; mainly overtone scales; mainly monophonic | *Throat-singing, natural horns, monochords lead to knowledge of higher harmonics; mainly overtone scales; mainly monophonic | ||
*"Classical" period: Tsâhong Tamdi's treatise [[Literature:Elements of Harmony|''Elements of Harmony'']] is published ~> tonality diamonds, Partchian scales | *"Classical" period: Tsâhong Tamdi's treatise [[Literature:Elements of Harmony|''Elements of Harmony'']] is published ~> tonality diamonds, Partchian scales | ||
*n-anies, Euler-Fokker and other CPS's; development in non-tuning aspects of music such as forms and texture; emergence of opera; more instrumental; instruments start to assume modern form. Modulations start to become more common. Music mostly sounds "sweet" up to this time. | *Etsoj Jopah (n,k)-anies, Euler-Fokker and other CPS's; development in non-tuning aspects of music such as forms and texture; emergence of opera; more instrumental; instruments start to assume modern form. Modulations start to become more common. Music mostly sounds "sweet" up to this time. | ||
*Descending down to scales and modulations motivates temperaments | *Descending down to scales and modulations motivates temperaments | ||
*"Romantic"/Temperament period: freer use of expressive "dissonant" harmony; expansion in available timbres, longer music and larger orchestras | *"Romantic"/Temperament period: freer use of expressive "dissonant" harmony; expansion in available timbres, longer music and larger orchestras | ||
**Think Ben Johnston's String Quartet 6 | **Think Ben Johnston's String Quartet 6 | ||
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Modern composers often work with various equal temperaments. Some favorite equal temperaments are 10, 12, 15, 17, 18, 19, 22, 27, 31, 41, 46, 53, 58, 72, 87; out of these, the most popular are 22 and 31. | Modern composers often work with various equal temperaments. Some favorite equal temperaments are 10, 12, 15, 17, 18, 19, 22, 27, 31, 41, 46, 53, 58, 72, 87; out of these, the most popular are 22 and 31. | ||
== | ==Classical music== | ||
===Instruments=== | ===Instruments=== | ||
Some common Talman instruments are given below with their [[Eevo]] names; they can be divided into continuous-pitch and fixed-pitch instruments. | Some common Talman instruments are given below with their [[Eevo]] names; they can be divided into continuous-pitch and fixed-pitch instruments. | ||
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I don't know how they would divide up the space of intervals melodically. | I don't know how they would divide up the space of intervals melodically. | ||
*They might consider intervals that are sufficiently close to be melodically the same. Thus the interval space is covered by overlapping sets of melodic roles. So what are these melodic roles? | *They might consider intervals that are sufficiently close to be melodically the same. Thus the interval space is covered by overlapping sets of melodic roles. So what are these melodic roles? | ||
==Musical forms== | ==Musical forms== | ||
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*"Tolkien of music" (inventing musical cultures for conworlds) here. | *"Tolkien of music" (inventing musical cultures for conworlds) here. | ||
*Some sci-fi-themed corporeal musical drama (named after an in-world character): based on the work of the pseudonymous author Þoogast P. Nosaŋve. | *Some sci-fi-themed corporeal musical drama (named after an in-world character): based on the work of the pseudonymous author Þoogast P. Nosaŋve. | ||
=CW-sphere music= | |||
Clofabo-Dodellian music features inharmonic quasi-equal tunings of e.g. 5, 7, 9, 13, 14 notes per octave. | |||
[[Category:Tricin]] | [[Category:Tricin]] | ||