Verse:Hmøøh/Talma: Difference between revisions

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The "high" Etalocian musical tradition abstractly considers the space of possible musical intervals to be the intervals with rational frequency ratios factorized into primes, possibly modulo tempering out commas, intervals considered "negligible" for a particular tuning system. Prime factors commonly used in intervals, in addition to 3 and 5, also include 7, 11, and 13 which are not represented well by 12-tone equal temperament.

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. ~~Just intonation~~ and ~~number-theoretic investigations may~~ also ~~have reinforced~~ each other.

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.

Music theory and mathematical questions have also motivated each other throughout Etalocian history.

====Periodization====

Here follows a crude periodization of Etalocian classical music:

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 The "high" Etalocian musical tradition abstractly considers the space of possible musical intervals to be the intervals with rational frequency ratios factorized into primes, possibly modulo tempering out commas, intervals considered "negligible" for a particular tuning system. Prime factors commonly used in intervals, in addition to 3 and 5, also include 7, 11, and 13 which are not represented well by 12-tone equal temperament.
-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. Just intonation and number-theoretic investigations may also have reinforced each other.
+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.
+Music theory and mathematical questions have also motivated each other throughout Etalocian history.
 ====Periodization====
 Here follows a crude periodization of Etalocian classical music: