Glommish/Musical system

Music in Thedish speaking cultures differed strongly depending on region; Italian Thedish music was closer to European musical styles whereas North African Thedish music had more in common with Middle Eastern musical styles. Both styles are common among Thedes today.

Musical terms

Thedish musicians prefer to translate or calque musical terms.

Italian Thedish music

slap = piano (soft)

stark = forte (loud)

fanþiend = andante (walking)

pik = allegro, vivace (lively)

úthużengfól = expressive

slýþsam = adagio (slow)

snióen yncz = not rushed

þí spriakstamnie = Sprechstimme

þí simbskapie = chorus

North African Thedish music

żard = maqam

Maqam names used in Thedish music aren't translated: Rást, Baját, Ażem, Kurd, Syká, Sabe, Hiżáz, Nahavend

sometimes they use dur and mól instead of Ażem and Nahavend

Common musical forms

furgang = bashraf; prelude

fiól = dulab; rondo

útþank = taqsim; impromptu

lióþ = song

Styles

Thedish opera

Very similar to Italian opera and often written in "Theditalian", a form of Italian with Germanic syntax; some modern composers write operas in Arabic and Persian

Hybrid musical forms

Contemporary Thedish music incorporates both Arab and European influences; for instance symphonies are written in maqams

Thedish musicians

• Andrie Hóchenhym, composer and tuning theorist; proposed 29edo as a tuning for Thedish fixed pitch instruments like accordions and mandoles so that both European music and North African music could be played
• Marczel Myna, composer
• Davúd Lióbacz, composer known for contrapuntal maqam music
  • Six Cello Suites after Bach in G Rast, D Saba, C Hijaz, Eb Ajam, C Nahawand, and D Bayat
• Walter Ytfield, contemporary tuning theorist and maqam scholar
  • the Lióbacz-Ytfield dispute on whether maqams are scales or melodic frameworks
• Arve Anedь, minimalist composer