Verse:Irta/Music

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

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

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 Arabic influences

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

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

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

Second Remonitionist music

Early Second Remonitionist musical styles are derived from Greek Buddhist chanting and 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, called ānə 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. Ráthait ail-Airbhéath) 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 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 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 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

Other instruments, often used in larger ensembles:

• harpsichord -- a staple of Irta klezmer
• organ

Modern cłorșăchăn are usually electro-acoustic.