Verse:Irta/Music: Difference between revisions

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Triadic polyphony in Irta evolved mainly from folk adaptations of Second Remonitionist polyphony, with melodic tendencies as in our timeline's "expressive intonation" resulting in a roughly 12 tone division of the octave. A notable difference is that the piano isn't as prominent -- in contrast, string ensembles and voice are given precedence which makes the classical idea of intonation in Irta much more fluid than in our timeline, with theorists often acknowledging subtle variations of a note, and there are various proposals to explain intonation in Irtan classical music. Intonational variation correlates with:

* scalar and harmonic context,

* the placement of notes within a phrase, as well as scalar and harmonic context,

* mood, and

* region (e.g. western parts of Hyperfrance use wider leading tones and narrower fifths compared to Riphea). This makes it especially hard for Irtan classical composers to codify an intonational system.

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 Triadic polyphony in Irta evolved mainly from folk adaptations of Second Remonitionist polyphony, with melodic tendencies as in our timeline's "expressive intonation" resulting in a roughly 12 tone division of the octave. A notable difference is that the piano isn't as prominent -- in contrast, string ensembles and voice are given precedence which makes the classical idea of intonation in Irta much more fluid than in our timeline, with theorists often acknowledging subtle variations of a note, and there are various proposals to explain intonation in Irtan classical music. Intonational variation correlates with:
-* scalar and harmonic context,
+* the placement of notes within a phrase, as well as scalar and harmonic context,
 * mood, and
 * region (e.g. western parts of Hyperfrance use wider leading tones and narrower fifths compared to Riphea). This makes it especially hard for Irtan classical composers to codify an intonational system.