|
|
| Line 46: |
Line 46: |
|
| |
|
| ==Compositions== | | ==Compositions== |
| Scúdhainn’s compositions, many of them commissioned, number about 250 works in total. Many of them were described as “conceptual” or “constrained composition” by her contemporaries. Terse counterpoint is also common. <!--However, she also liked exploring vocal music and folk-like themes.-->
| | Less interest in folk music? (maybe in a "Tough Guys Wear Pink" fashion) |
| | |
| (Many of her “high-level” tempo markings and staff directions are in her native Tíogall – while “low-level” ones such as dynamics markings remain in Netagin.) | |
| | |
| *9 Xaetjeon Dances
| |
| <!--
| |
| Her later, most characteristic style was based on synthesis of all of these elements.
| |
| *Chamber music (40)
| |
| *Solo pieces (32)
| |
| **9 Xaetjeo
| |
| *Vocal music
| |
| **''Foscúgáil'' (64)
| |
| **Choral music (20)
| |
| *Orchestral music (20)
| |
| *One opera
| |
| | |
| Her firsts as a composer:
| |
| *Used some rank-2 temperaments for the first time in Talmic music. (Is this realistic before precise pitch measurement/the invention of computers?)
| |
| As tuning theorist
| |
| * Wrote the treatise Linear Temperaments (Tíogall: [], literally “Vector temperaments”?), formalizing the concept of linear temperaments, as a generalization of JI and some particular examples of temperaments.-->
| |
|
| |
|
| ==Music theory== | | ==Music theory== |