Verse:Hmøøh/Talma/Music: Difference between revisions
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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. --> | 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. --> | ||
==== | ====Early==== | ||
Throat-singing, natural horns, monochords lead to knowledge of higher harmonics; mainly overtone scales; mainly monophonic | Throat-singing, natural horns, monochords lead to knowledge of higher harmonics; mainly overtone scales; mainly monophonic | ||
Tsăhong Tamdi's treatise [[Literature:Elements of Harmony|''Elements of Harmony'']] is published ~> Partchian tonality diamonds | Tsăhong Tamdi's treatise [[Literature:Elements of Harmony|''Elements of Harmony'']] is published ~> Partchian tonality diamonds | ||
==== | ====Classical==== | ||
Johnstonian free JI; many choral, chamber and orchestral works | Johnstonian free JI; many choral, chamber and orchestral works | ||
====Period 3==== | ====Period 3==== | ||