Verse:Irta/Music

One theme: non-common practice uses of 12edo, 5-limit JI, meantone, or diatonic edo tunings

Azalic music

Azalic music is built up on similar principles to ancient Greek music theory, but they divide string lengths into constructible ratios which aren't always rational. The most common tunings used in Azalic music divide a JI interval, most commonly 2/1, 3/2 or 12/7, into 16 equal parts, and various MOS subsets of these are used for melody, particularly Lemba, Mavila, and Magic temperaments.

Common Mavila scales used in Azalic music are the Locrian mode, 3 2 2 3 2 2 2, and the seventh mode of the harmonic minor, 3 2 3 2 2 3 1.

In Irtan cultures outside the Azalic Urheimat but influenced by Azalic culture, 16ed12/7, and its octave equivalent counterpart 41edo, became the most prominent tuning whereas Irta's North Africa (the Azalic Urheimat) mostly uses variations on 16 tone octave equivalent and related scales.

Irish classical music

"If Irish/Scottish folk music is the same as in our timeline what would Irish elite music be like"

Irish Renaissance music

Should be a development of sung bardic poetry

Counter-Remonition

Tuning: Fixed pitch instruments are tuned to 5 to 10 note subsets of 2-3 chains of Pyth fifths separated by 5/4, commas are sometimes intentionally used. At some point this is standardized to 34edo

Names for the tuning standard and notes relative to it (like how Arabs don't use all 24 notes of 24edo)

Irta Irish Romanticism

post-2nd Rem

Albionian and folk Irish music influences, Irish lieder are a tradition along with French and Azalic English ones (reaction to excesses of the Counter-Remonition period)

In literature, nature poetry makes a comeback

Remonitionist music

Remonitionist music is an alternate evolution of our Renaissance music. The style that arises from the First Remonition is a neo-medievalism derived from the music of various Italic-speaking cultures, but Second Remonitionist music is much more meditative and chanting/intoned singing-based. Christian music is the same as in our timeline up to the First Remonitionist Reformation in the 16th c.

Should be heavily influenced by Azalic culture by the end of 2nd Remonition

Irta Baroque

A neo-medievalist movement which develops in France, Spain and Italy, "what if Baroque used 17edo/17wt"

Baroque dance suites in 17edo which use Baroque dance rhythms but not our Baroque harmony; canons and fugues, but not using Fuxian counterpoint

2-part counterpart likes resolving to fifths and uses tons of Machaut cadences (Eb-G -> D-A, Ed-Gt -> D-A, E-G# -> D-A)

Prefers minor and Locrian for diatonic music; 17edo influences Tsarfati Jewish music somewhat too, explaining the use of Locrian in Cualandian Jewish nusachim

John Wellwise /wɛlɪz/ is the counterpoint guy (interpreting "Fuxian" as Mandarin 富賢)

Irta Baroque trends

Bleu temperament often shows up as an attempt to capture an "Azalic" sound in a 17edo framework

Second Remonitionist music

Early Second Remonitionist musical styles are derived from Greek Buddhist chanting and Azalic polyphonic traditions found in Irta, and follows a system of four roughly equal divisions of a perfect fifth. (Incidentally this is very similar to our timeline's Georgian music)

This was the dominant musical practice among Remonitionists who first migrated to Tricin, and the most common musical systems among Remonitionists in Cualand are 12ed3/2 and 24ed3/2.

Corsican

Sean-nós style in Arabic maqams, this style is called ānə (cognate to Maltese għana) in Corsican Arabic

New maqams

Some maqams named after Irish or Celtic places or scales in Irta Irish classical music

More maqams with Arabic names like "Rahat Al Arwah"

Irta Irish borrows maqām names (via Corsican Arabic, e.g. Ráhait ail-Airvéah) and the term meagáim itself, and translates other maqam terms

Tsarfati

Tuning

Intonation often happens by ear and is not necessarily JI-based (cf. maqam music). Fixed pitch instruments use subsets of 17wt, 17edo, 34edo or 31edo (for meantone or diasem). Neutral intervals are commonly used as in maqam.

Cantillation

Liturgy uses diatonic modes:

• Torah readings use Dorian
• Haftarot use Aeolian
• Non-Eicha Megillot use Mixolydian
• Eicha uses Phrygian
• Most blessings use Dorian
• Some blessings and prayers use Lydian

Todo: Cantillation tropes

Folk music

Tsarfati Jewish folk songs are known as טאָנתּאן dontăn in Ăn Yidiș (singular טאָן don; cognate to Irish dán 'poem (among other meanings)'). They may be in Ăn Yidiș or in a macaronic mixture of Ăn Yidiș, Hebrew, and other languages. They have some traditional Hivantish and Irish elements but are unique. Like in our timeline, Hasidic Judaism is also an influence with its emphasis on dancing, devotion, and wordless melodies (but their niggunim sound lowkey Celtic or Hivantish rather than our timeline's Eastern European)

Instruments from Gaelic music:

• pib-ilăn - uilleann pipes
• fehăł (from in-universe OIr **fethal, from Early Romance *vitola) - fiddle
• cłorșăch - a version of the Welsh triple harp, with a different design (If you say "Jew's harp" in Irta they'd likely think you mean this.)

Instruments from Hivantish music:

• șeyņăł - kantele

Other instruments, often used in larger ensembles:

• harpsichord -- a staple of Irta klezmer
• organ

Modern cłorșăchăn are usually electro-acoustic.