Literature talk:Little Red Riding Hood: Difference between revisions

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[[Wiobian|↑ Wiobian]]


Traditional Wiobian music places much emphasis on melody, often having two melodic voices in counterpoint for high-class music, though more modern music often calls for more dense orchestration. (read: cobbled together from gamelan, Southeast Asian and Baroque influences. Some Korean stuff will probably get in too) The music is based on a scale with fifteen notes per octave, that is capable of both small movements in melody and harmonic shifts ranging from the subtle to the dramatic. A wealth of inharmonic instruments such as  metallophones (Ɉürl-Zrong-Smiḥ), marimbas (Geim-Zrong-Smiḥ), cymbals and drums serve as ingredients for this sonic landscape. However also valued are harmonic instruments (such as stringed instruments e.g. the plucked or bowed zither-like ''Tünd'', the strummed and fretted ''Þaus-Bung'', and the bowed ''Nisch&Ker''; as well as fixed-pitch wind instruments; and last but not least the human voice), for their ability to imitate the human voice and to emphasize canonically harmonic intervals.
Musics of neighboring cultures such as Trây music are broadly similar.
==Musical forms==
==Instruments==
How could instruments accomodate 15 notes per octave?
===Idiophones===
The idiophones are:
* metallophones (''Ɉürl-Zrong-Smiḥ'') and marimbas (''Geim-Zrong-Smiḥ'')
====''Zrong-Smiḥ''====
A suitably modern ''Zrong-Smiḥ'' is made up of three parallel rows of keys tuned in equally spaced pentatonic scales.
===String instruments===
===Wind instruments===
==Tuning and scales==
*8 + 7 is the most space-saving "black and white" layout, ∴ porcupine?
*5 + 5 + 5 could work too
===Origins and development===
Long story short:
The Wiobian tuning system has its origins in the quasi-equal pentatonic scale, found in our world in e.g. [[w:gamelan|gamelan]] music - this system is described in Classical Wiobian records:
C  D  F  G  A  C
Then, Wiobian musicians in the "Wiobian Renaissance" started experimenting with more "interesting" sounds, such as major thirds (5/4, ~400¢), and a "major seventh" to serve as a leading tone:
     
C  D  F  G  A  C
        E\|        B\|
Coincidentally, the major third was a leading tone to F and the major seventh was a major third to G! Exploiting this fact, leading tones were successively added under each note of the equal pentatonic scale, eventually resulting in:
C  D  F  G  A  C
    D\| E\| G\| A\| B\|
Later, more dense orchestration increased the demand for chromatic movements. Thus eventually the full 15-tone gamut was complete:
C/| D/| F/| G/| A/|
C  D  F  G  A  C
    D\| E\| G\| A\| B\|
===Tuning method===
===Modern===
====Nominal names====
*''do'' - 0\15
*''ko'' - 3\15
*''lo'' - 5\15
*''go'' - 6\15
*''wo'' - 9\15
*''dżo'' - 11\15
*''no'' - 12\15
*''cho'' - 14\15
*''do'' - 15\15

Revision as of 20:58, 4 February 2018

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