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== | ==Instruments== | ||
Some instruments used in Clofabian music include | |||
* ''spiusin'', a kind of oud with sympathetic strings | |||
*''penicillin'', a [[w:psalmodicon|psalmodicon]]-like instrument (which is, incidentally, called ''moldpill'' in Estonian) | |||
*''ditoren'', the crychord (the national instrument of Clofabolocin) | |||
*the ''dorzan'', a harp which came from the Tamil yazh | |||
*the ''amoltin'', a Ferlitian metallophone | |||
*the ''vinan'', an adaptation of the Indian veena | |||
*Quelocian instruments? | |||
==Styles== | |||
*Something analogous to jazz evolves in northern Clofabolocin? from Clofabians adapting Quelocian ensemble instruments (it may sound a lot like jazz) | |||
*A grunge-like style in Azithromycin | |||
*a Ferlitian style with a rock+gamelan+New Complexity or rock+gamelan+second Viennese school aesthetic | |||
*Dorzan music | |||
*Ditoren music | |||
**A Partch+Korean gugak hybrid aesthetic | |||
*Georgian-like polyphony in the Arpalan Mountains | |||
==Tunings== | |||
Clofabian tunings depend on the instrument and musical genre. LCJI, 41edo and meantone (both fixed and adaptive) are the most popular tunings. | |||
==Timeline== | |||
===''Coplimeran''=== | |||
Traditional Clofabian music is based around improvisation. In modern times it may be called ''coplimeran'' (free music) to distinguish it from later traditions of composed music. | |||
<poem> | <poem> | ||
something more "gestural" like partch's music? | |||
but not as corporeal | |||
i'll go with an aesthetic between gayageum sanjo and partch's music | |||
the music of clofabolocin is mostly centered on solo improvisation, exploring harmony, melody, and rhythm (instruments are divided into those three categories) | the music of clofabolocin is mostly centered on solo improvisation, exploring harmony, melody, and rhythm (instruments are divided into those three categories) | ||
or solo improvisation with narration à la Partch's Li Po lyrics | or solo improvisation with narration à la Partch's Li Po lyrics | ||
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there could be a clofabian saying that goes something like "you can't teach someone to live gracefully or to play the spúith well" | there could be a clofabian saying that goes something like "you can't teach someone to live gracefully or to play the spúith well" | ||
</poem> | </poem> | ||
== | ===''Nabitameran''=== | ||
? | ''Nabitameran'', literally 'remembered music', is a relatively recent tradition that is in the Baroque-chiptune cluster. It usually uses a 12-note meantone tuning given by stacking 11 fifths, and modern electronic music standardized this to 12 equally spaced notes per octave. Sometimes non-meantone tunings such as 17edo and superpyth tunings are used, however. | ||
Common instruments used are the harpsichord, the organ and the uniquely Clofabian claviorganum, where a note is played by simultaneously plucking a harpsichord string and blowing through organ pipes. The claviorganum may be slightly detuned for a shimmering vibrato effect. | |||
There are two slightly differing flavors of ''nabitameran'': | |||
#'''"Acoustic chiptune"''' was pioneered by Semopoetin Zyrtec. Semopoetin would use voices played by harpsichords, organs, claviorganums and drums in his "incidental music" for plays and dance music. This style is something of a hybrid of 8-bit video game music on Earth and Scarlatti sonatas. | |||
#'''Clofabian electronic music''' began as improvisation over a bass line, and took on Baroque-like complexity as time went on. Early Clofabian music systems used 2 square wave channels + 1 triangle wave channel + 1 percussion channel like Famicom. This grew to 4 voice channels as composers began to write increasingly complex contrapuntal music. This style is, not surprisingly, also used for Clofabian video game music. | |||
Some forms of music in this style are: | |||
*Baroque dances with a swing and percussion track (made with a noise channel) | |||
*Repetitive stereotypically Baroque figurations with changing harmony | |||
*Scarlatti sonatas | |||
==Music of Quelocin== | |||
Quelocian tunings use generally chromatic-sized steps, e.g. 8ed3/2, 13edo, 20ed3, 12edo, 18ed3, 11edo, 6ed3/2. Most Quelocian instruments are fixed pitch (metallophones, rhodes piano, mbiras). Nowadays most Quelocian ensembles use 12edo or 20ed3. | |||
==Ferlitian music== | |||
The earliest forms of Ferlitian music were hymns (''yemetnyare'') and did not use instruments. These were connected with various aspects of Ferlitian animism and shamanism. The amoltin evolved in Ferlitia from gamelan music, brought to Ferlitia by immigrants from Indonesia. | |||
Ferlitia has a very rich tradition of tuning theory which stems from the Rietzic mathematical tradition -- the Ferlitian theorist Altemezwar (Aldamezor) is famous for discovering formulas in Tricin to accurately compute log(2) and other irrational numbers, and applying these to musical scales. Aldamezor proposed a 41 tone division of the octave based on the formula log(2) = 10 log(81/80) + 14 log(64/63) + 12 log(49/48) + 5 log(50/49), which today is known as "the Ferlitian scale" outside of Ferlitia though it was mainly a theoretical construct. He also wrote treatises on amoltin tuning and its connection to concordance and proposed various harmonic profiles when designing amoltins, and addressed the aesthetic differences between equal temperament and just intonation mostly when used for melody, and suggested a very unequal slendric as a tuning for amoltins, approaching 41 tones of 113edo. This had the effect of making neutral thirds in Ferlitian music come in wider and narrower variations, very much like in maqam music. Nowadays most amoltins use 41edo or golden magic temperament, and the latter, which is common in eastern Ferlitia, provides a close approximation to the ''fosbretadorzan'' and ''lisavadorzan'' scales from dorzan practice, sometimes used in Ferlitian music today. | |||
Nowadays synthesized amoltin music is becoming increasingly popular especially outside of Ferlitia. (Example from a Clofabian pop song?) | |||
[[Category:Music]] | |||