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Verse:Irta/Music: Difference between revisions
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In Irtan cultures outside the Azalic Urheimat but influenced by Azalic culture, 16ed12/7, and its octave equivalent counterpart 41edo, became the most prominent tuning whereas Irta's North Africa (the Azalic Urheimat) mostly uses variations on 16 tone octave equivalent and related scales. Crannish music, which is generally polyphonic, uses harmonic series approximations to 16edo. | In Irtan cultures outside the Azalic Urheimat but influenced by Azalic culture, 16ed12/7, and its octave equivalent counterpart 41edo, became the most prominent tuning whereas Irta's North Africa (the Azalic Urheimat) mostly uses variations on 16 tone octave equivalent and related scales. Crannish music, which is generally polyphonic, uses harmonic series approximations to 16edo. | ||
== Irish classical music == | == Irta Irish classical music == | ||
"If Irish/Scottish folk music is the same as in our timeline what would Irish elite music be like" | "If Irish/Scottish folk music is the same as in our timeline what would Irish elite music be like" | ||
=== Irish Renaissance music === | === Irta Irish Renaissance music === | ||
Should be a development of sung bardic poetry, with French Renaissance influences | Should be a development of sung bardic poetry, with French Renaissance influences | ||
=== Counter-Remonition === | === Irish 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 intentionally used. At some point this is standardized to 34edo | 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 intentionally used. At some point this is standardized to 34edo | ||