Verse:Hmøøh/Talma/Music: Difference between revisions

Line 1:

The classical Talman 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 Talman music was likely that maintaining it (without collapsing it to e.g. the common pentatonic scale) functioned as a status symbol.

==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.

Line 34:

Line 32:

*Partch-style "corporeal" musical dramas: These dramas are designed to be appreciated visually, narratively and emotionally as well as musically. Unlike in Western musicals or operas, the performers who play the instruments are also those who act out the parts.

===Tuning systems===

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. 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. The most popular are 22 and 31 (which were also the most common EDOs in classical music).

==Classical music==

The classical Talman 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 Talman music was likely that maintaining it (without collapsing it to e.g. the common pentatonic scale) functioned as a status symbol.

===Instruments===

Some common Talman instruments are given below with their [[Eevo]] names; they can be divided into continuous-pitch and fixed-pitch instruments.

@@ Line 1: / Line 1: @@
-The classical Talman 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 Talman music was likely that maintaining it (without collapsing it to e.g. the common pentatonic scale) functioned as a status symbol.
 ==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.
@@ Line 34: / Line 32: @@
 *Partch-style "corporeal" musical dramas: These dramas are designed to be appreciated visually, narratively and emotionally as well as musically. Unlike in Western musicals or operas, the performers who play the instruments are also those who act out the parts.
 ===Tuning systems===
-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. 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. The most popular are 22 and 31 (which were also the most common EDOs in classical music).
 ==Classical music==
+The classical Talman 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 Talman music was likely that maintaining it (without collapsing it to e.g. the common pentatonic scale) functioned as a status symbol.
 ===Instruments===
 Some common Talman instruments are given below with their [[Eevo]] names; they can be divided into continuous-pitch and fixed-pitch instruments.