Verse:Hmøøh/Talma/Music: Difference between revisions
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=Talman music= | =Talman music= | ||
[rewrite, with less focus on rank 2 RTs. Tho rank 2 theory might still be used for isomorphic keyboard design?] | |||
The classical Etalocian musical tradition abstractly considers the space of possible musical intervals as approximating the intervals with rational frequency ratios. Prime factors commonly used in intervals, in addition to 3 and 5, also include 7, 11, 13 and higher limits. In modern times, there are broadly two approaches to this tuning, the choice of which is partly dictated by instrumentation and style: just intonation (possibly microtempered) and various equal temperaments. | The classical Etalocian musical tradition abstractly considers the space of possible musical intervals as approximating the intervals with rational frequency ratios. Prime factors commonly used in intervals, in addition to 3 and 5, also include 7, 11, 13 and higher limits. In modern times, there are broadly two approaches to this tuning, the choice of which is partly dictated by instrumentation and style: just intonation (possibly microtempered) and various equal temperaments. | ||
Just intonation was initially an attractive choice as it was considered easy to tune and evaluate musicians on. Primes higher than 5 may have come from an early tradition of throat singing where having a deep voice and the ability to throat-sing higher harmonics (11-14) clearly was seen as a mark of masculinity. In summary, a major reason that this system of just intervals survived as a mainstay of Etalocian music was likely that maintaining it (without collapsing it to e.g. the common pentatonic scale) functioned as a status symbol. | |||
==Periodization== | |||
Here follows a crude periodization of Etalocian classical music: | |||
*Throat-singing, natural horns, monochords lead to knowledge of higher harmonics; mainly overtone scales; mainly monophonic | |||
*"Classical" period: Tsăhong Tamdi's treatise [[Literature:Elements of Harmony|''Elements of Harmony'']] is published ~> tonality diamonds, Partchian scales | |||
*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 | |||
*"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 | |||
*Temperament period: constant structures and equal temperaments; more emphasis on counterpoint then in previous eras; chamber music and sewvore favored. Some see this as a step to democratizing music. | |||
**Fugues/canons in weird temperaments is Etalocin's serialism analogue | |||
**Partchian corporeality from Tizian music | |||
==Standardization== | ==Standardization== | ||
The Trician scientific unit for musical intervals is the ''vri'', which is defined as the interval given by the frequency ratio exp(1/1728):1 ≈ 1.00187155617 [[w:cent (music)|cents]]. So it's in practice very similar in size to cents. | The Trician scientific unit for musical intervals is the ''vri'', which is defined as the interval given by the frequency ratio exp(1/1728):1 ≈ 1.00187155617 [[w:cent (music)|cents]]. So it's in practice very similar in size to cents. | ||
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====Fixed-pitch==== | ====Fixed-pitch==== | ||
*''sbwiþ'' = plucked string instrument with sympathetic strings | *''sbwiþ'' = plucked string instrument with sympathetic strings | ||
*''jogóm'' = a zither | *''jogóm'' = a zither | ||
*''teem'' = a reed instrument | *''teem'' = a reed instrument | ||
*''fewm'' = a drum | *''fewm'' = a drum | ||
*''sewvore'' = some multi-row autoharp thing controlled by a removable isomorphic keyboard (pieces are often written for two or more ''sewvore'' keyboards that are separated by a tuning offset so that the player has access to different octaves) | |||
*''atxagádal'' (Nurian ''aġġiakkātą'' [ædʒdʒækˈkaːtˠãː]) = pasta guitar-like instrument of [[Nurian]] origin, with a bridge to separate two rows of strings that are an octave apart. Common models have 21 strings (folk), 29 strings (classical) or 37 strings (deluxe). | *''atxagádal'' (Nurian ''aġġiakkātą'' [ædʒdʒækˈkaːtˠãː]) = pasta guitar-like instrument of [[Nurian]] origin, with a bridge to separate two rows of strings that are an octave apart. Common models have 21 strings (folk), 29 strings (classical) or 37 strings (deluxe). | ||
Tuning to temperaments was done with reference instruments or monochords before the invention of electronics. | Tuning to temperaments was done with reference instruments or monochords before the invention of modern electronics. | ||
Some fixed-pitch tunings: | |||
*1/1 21/20 8/7 6/5 5/4 21/16 10/7 3/2 | |||
*441/440 tempered out: 1/1 21/20 11/10 8/7 6/5 5/4 21/16 11/8 10/7 3/2 | |||
*hexanic: 1/1 21/20 35/32 8/7 6/5 5/4 21/16 48/35 10/7 3/2 | |||
*major: 1/1 25/24 7/6 6/5 5/4 7/5 35/24 3/2 | |||
*minor: 1/1 25/24 15/14 6/5 5/4 9/7 75/56 3/2 | |||
*augmented: 1/1 15/14 7/6 5/4 9/7 35/24 3/2 | |||
Pasta guitar tunings: | Pasta guitar tunings: | ||
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*the 37 string model: 1/1 21/20 35/32 8/7 6/5 5/4 21/16 48/35 10/7 3/2 or 1/1 25/24 15/14 7/6 6/5 5/4 9/7 7/5 35/24 3/2 | *the 37 string model: 1/1 21/20 35/32 8/7 6/5 5/4 21/16 48/35 10/7 3/2 or 1/1 25/24 15/14 7/6 6/5 5/4 9/7 7/5 35/24 3/2 | ||
==== | ====Music and vegetarianism==== | ||
Copper strings and hoof glue were vegetarian substitutes for gut strings and hide glue. | Copper strings and hoof glue were vegetarian substitutes for gut strings and hide glue. | ||
===Tuning systems=== | ===Tuning systems=== | ||
Classical music: | Classical music: | ||
*Older music: | *Older music: Partchian 11- 13- limit | ||
*Free JI like Johnston's string quartets | *Free JI like Johnston's string quartets | ||
*Dekanies, eikosanies and other scales that maximize the number of consonant chords per note | *Dekanies, eikosanies and other scales that maximize the number of consonant chords per note | ||
*Constant structures that contain desirable scales (like Erv Wilson) | *Constant structures that contain desirable scales (like Erv Wilson) | ||
*"Commas" (small intervals) are not necessarily something to be avoided, but to be judiciously worked with. | |||
*Historically well-temperaments were also used. | |||
Popular music prefers "simpler" just scales: | Popular music prefers "simpler" just scales: | ||
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*Early Windermere composers (responsible for staff directions in [[Windermere]]) | *Early Windermere composers (responsible for staff directions in [[Windermere]]) | ||
===Classical-classical music=== | ===Classical-classical music=== | ||
*( | *(the Wilson) Etsoj Jopah | ||
*Inthar Tăhus | *Inthar Tăhus | ||
*(roughly the Smith) Rhooc Askuucis | *(roughly the Smith) Rhooc Askuucis | ||