Verse:Irta/Music
Remonitionist music
Remonitionist music is an alternate evolution of our Renaissance music. The style that arises from the First Remonition is a neo-medievalism, 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 Buddhist cultures by the end of 2nd Remonition
First Remonitionist music
Irta Baroque
A neo-medievalist movement, "what if Baroque used 17edo/17wt"
Baroque dance suites in 17edo which use Baroque dance rhythms but not our Baroque harmony
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
Ars nova nova
Second Remonitionist music
Extended LCJI theory arises within the Remonitionist tradition, from throat singing chanting traditions. Certain styles of music uses JI while certain styles are closer to authentically Nurian. In Crackfic Tricin, Remonitionist immigrants from Irta are responsible for much of Crackfic Trician JI and RTT tuning theory.
Tsarfati
Tuning
Intonation often happens by ear and is not necessarily JI-based (cf. maqam music). Fixed pitch instruments use 1/4-comma meantone, 12-wt, 17-wt, 17edo (approximated by a stack of seventeen 25/24 semitones) or pyth depending on style and local tradition.
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 טאָניהאן donihăn 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 Celtic 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
Modern cłorșăchăn are usually electro-acoustic.
Crackfic Tricin
Talma
Hebrew cantillation
Based on oneirotonic, uses modes such as LLLSLSLS, LLSLLSLS, LLSLLSLS, LSLLSLLS, LSLSLSAS, LSLSLLLS, SLSLLSLL, with varying tunings which can change when singing; marimbas are common in synagogues
Cualand
Hebrew cantillation
Cantillation tropes in Cualand are diatonic, LCJI-based, or overtone scale-based (like primodality). Some melodies use Locrian.
