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== Western European music == | == Western European music == | ||
Three distinct classical styles emerge in Western Europe in Irta, all of which are popular. The first two arise directly out of Remonitionism -- the style that arises from the First Remonition is a neo-medievalism | Three distinct classical styles emerge in Western Europe in Irta, all of which are popular. The first two arise directly out of Remonitionism -- the style that arises from the First Remonition is a neo-medievalism developed by John Wellwise, inspired by various Italic-speaking cultures as well as Tsarfati Jewish music. Second Remonitionist music is much more like our timeline's Western music and influenced musical cultures in Cualand. | ||
=== Irta Baroque === | === Irta Baroque === | ||
A neo-medievalist movement which develops in France, Spain and Italy, "what if Baroque used 17edo/17wt" | A neo-medievalist movement which develops in France, Spain and Italy, "what if Baroque used 17edo/17wt" | ||
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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) | 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) | ||
Nowadays First Remonitionist styles are much more popular in Riphea | Nowadays First Remonitionist styles are much more popular in Riphea and Remonitionist colonies in Polynesia. | ||
John Wellwise /wɛlɪz/ is the counterpoint guy (interpreting "Fuxian" as Mandarin 富賢) | John Wellwise /wɛlɪz/ is the counterpoint guy (interpreting "Fuxian" as Mandarin 富賢) | ||
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=== Second Remonitionist music === | === Second Remonitionist music === | ||
Early Second Remonitionist musical styles are derived from | Early Second Remonitionist musical styles are derived from Gregorian chants and approach them in a much more "gestural" fashion. The tonal system that emerged from this is adaptive 12 tone near-equal. This later evolved into 12edo in Western music in Irta and into a more maqam-like melodic system in Cualand. | ||
=== Classical and Romantic music === | === Classical and Romantic music === | ||
Classical and Romantic music are very similar to our timeline. | Classical and Romantic music are very similar to our timeline. | ||
Todo: move fuzzy intonation elements to Cualand | |||
Triadic polyphony in Irta evolved mainly from folk adaptations of Second Remonitionist polyphony, with melodic tendencies as in our timeline's "expressive intonation" resulting in a roughly 12 tone division of the octave. A notable difference is that the piano isn't as prominent -- in contrast, string ensembles and voice are given precedence which makes the classical idea of intonation in Irta much more fluid than in our timeline, with theorists often acknowledging subtle variations of a note, and there are various proposals to explain intonation in Irtan classical music. Intonational variation correlates with: | Triadic polyphony in Irta evolved mainly from folk adaptations of Second Remonitionist polyphony, with melodic tendencies as in our timeline's "expressive intonation" resulting in a roughly 12 tone division of the octave. A notable difference is that the piano isn't as prominent -- in contrast, string ensembles and voice are given precedence which makes the classical idea of intonation in Irta much more fluid than in our timeline, with theorists often acknowledging subtle variations of a note, and there are various proposals to explain intonation in Irtan classical music. Intonational variation correlates with: | ||
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**her 9th symphony introduces the pandiatonic style for the first time in Irta | **her 9th symphony introduces the pandiatonic style for the first time in Irta | ||
**Tricky violin concertos using modal figurations that stump violinists? | **Tricky violin concertos using modal figurations that stump violinists? | ||
* | * Blesswise Kim, ethnomusicologist, microtonalist and author of a treatise proposing extended Pythagorean intonation | ||
**Introduces a Bosanquet-like layout which becomes controversial? | **Introduces a Bosanquet-like layout which becomes controversial? | ||
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Folk traditions of Riphea are revived as a part of the Nōje Niđjaste movement and a distinctive Riphean style of classical music develops from this. The "Riphean style" was subsequently incorporated into concert music by late 19th century Irtan composers. | Folk traditions of Riphea are revived as a part of the Nōje Niđjaste movement and a distinctive Riphean style of classical music develops from this. The "Riphean style" was subsequently incorporated into concert music by late 19th century Irtan composers. | ||
== | ==Japanese== | ||
idea: "what if maqams were pentatonic" | idea: "what if maqams were pentatonic" | ||
Irta Japanese music consists of various modes and melodic tropes called ''makān'' and ''āwāji''. Japanese ''makān''s are mostly pentatonic where certain notes are played with vibrato by default. For instance ''makān-i-Hirajōshi'' consists of the scale C D Eb G Ab with vibratos on the notes Eb and Ab. In addition there are non-octave ''makān''s like the "pentatonic" scale C D Eb G Ab Bb with vibratos on Eb and Bb. There are also hexatonic ''makān''s that have Hiberno-Majorcan names and are inspired by Irish folk music. | |||
Irta Japanese "ajnas" are either trichords spanning a perfect fourth or tetrachords spanning a perfect fifth. An exception is ??? which spans a diminished fifth: C E F Gb. | |||
== Arabic == | == Arabic == | ||
No maqam 3ajam in places that use a 17edo-based theory; Irta's maqam 3ajam comes from 5-limit | No maqam 3ajam in places that use a 17edo-based theory; Irta's maqam 3ajam comes from 5-limit Ionian and Mixolydian in Irta Irish theory, often approximated with 34edo | ||
=== | === Majorcan === | ||
Sean-nós style in Arabic maqams, this style is called ''γine'' (cognate to Maltese ''għana'') in | Sean-nós style in Arabic maqams, this style is called ''γine'' /ˈʁɪnə/ (cognate to Maltese ''għana'') in Majorcan Arabic | ||
==== New maqams ==== | ==== New maqams ==== | ||
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More maqams with Arabic names like "Rahat Al Arwah" | More maqams with Arabic names like "Rahat Al Arwah" | ||
Irta Irish borrows maqām names (via | Irta Irish borrows maqām names (via Majorcan Arabic, e.g. ''Rāhatı alı-Arvēh'') and the term ''megāmı'' itself, and translates other maqam terms | ||
==Talma== | ==Talma== | ||
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==Cualand== | ==Cualand== | ||
===Anglo-Cualandian music=== | |||
English Cualandian music is based on a modal framework in a roughly 12 tone scale, which evolved from early Second Remonitionist music in Irta. There are four main families of scales in use in this system: | |||
*The Lydian family, characterised by a sharpened 4th | |||
*The Ionian family, characterized by natural thirds and fourths | |||
*The Dorian family, characterized by a flat third | |||
*The Phrygian family, characterized by a flat second | |||
===Hebrew cantillation=== | ===Hebrew cantillation=== | ||
Cantillation tropes in Cualand are diatonic, LCJI-based, or overtone scale-based. Some melodies use Locrian. Doctrinally Judaism is no more weird than the full range of Rabbinic Judaism in our timeline. | Cantillation tropes in Cualand are diatonic, LCJI-based, or overtone scale-based. Some melodies use Locrian. Doctrinally Judaism is no more weird than the full range of Rabbinic Judaism in our timeline. | ||
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== Primodality == | == Primodality == | ||
=== Evolution === | === Evolution === | ||
Primodality is invented in Cualand. Like in our timeline, primodality is chord-scale theory applied to overtone scales. In Irta, chord-scale theory arises within the Irta Arab maqam tradition (which has a standardized abstract gamut) whereas the original maqam culture survives in other cultures such as Turkic and | Primodality is invented in Cualand. Like in our timeline, primodality is chord-scale theory applied to overtone scales. In Irta, chord-scale theory arises within the Irta Arab maqam tradition (which has a standardized abstract gamut) whereas the original maqam culture survives in other cultures such as Turkic and Midhirian music. |
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