Glommish/Musical system: Difference between revisions
Tags: Mobile edit Mobile web edit |
Tags: Mobile edit Mobile web edit |
||
| Line 57: | Line 57: | ||
*Ibrym '''Abderaszíd''', tuning theorist; proposed 29edo and a notation system (known as "þe Abderaszíd-geskapı") as a tuning for maqams | *Ibrym '''Abderaszíd''', tuning theorist; proposed 29edo and a notation system (known as "þe Abderaszíd-geskapı") as a tuning for maqams | ||
*Andrie '''Hóchenhym''', composer who proposed a 41-tone system, adding the numbers of tones of the Abderrashid system and the Western system which was known in the Thedish speaking world as the Galilei system | *Andrie '''Hóchenhym''', composer who proposed a 41-tone system, adding the numbers of tones of the Abderrashid system and the Western system which was known in the Thedish speaking world as the Galilei system | ||
*Marczel '''Myna''', 18th century composer | *Marczel '''Myna''', 18th century composer and qanun player | ||
**Opera "Beowulf" | **Opera "Beowulf" | ||
*Davúd [???], prolific symphonist (wrote 50 symphonies) | *Davúd [???], prolific symphonist (wrote 50 symphonies) | ||
Revision as of 06:02, 2 September 2021
Music in Thedish speaking cultures differed strongly depending on region; Italian Thedish music was closer to European musical styles whereas North African Thedish music had more in common with Middle Eastern musical styles. Both styles are common among Thedes today.
Musical terms
Thedish musicians prefer to translate or calque musical terms.
Italian Thedish music
slap = piano (soft)
stark = forte (loud)
fanþiend = andante (walking)
pik = allegro, vivace (lively)
úthużengfól = expressive
slýþsam = adagio (slow)
snióen yncz = not rushed
þí spriakstamnie = Sprechstimme
þí simbskapie = chorus
North African Thedish music
żard = maqam
Maqam names used in Thedish music aren't translated: Rást, Baját, Ażem, Kurd, Syká, Sabe, Hiżáz, Nahavend
sometimes they use dur and mól instead of Ażem and Nahavend
Common musical forms
furgang = bashraf; prelude
fiól = dulab; rondo
útþank = taqsim; impromptu
lióþ = song
lióþer = melody (from *hleu-þrą <- PIE *klew-trom)
Styles
Thedish opera
Very similar to Italian opera and often written in "Theditalian", a form of Italian with Germanic syntax; some modern composers write operas in Arabic and Persian
Hybrid musical forms
Contemporary Thedish music incorporates both Arab and European influences; for instance symphonies are written in maqams
Thedish musicians
- Ibrym Abderaszíd, tuning theorist; proposed 29edo and a notation system (known as "þe Abderaszíd-geskapı") as a tuning for maqams
- Andrie Hóchenhym, composer who proposed a 41-tone system, adding the numbers of tones of the Abderrashid system and the Western system which was known in the Thedish speaking world as the Galilei system
- Marczel Myna, 18th century composer and qanun player
- Opera "Beowulf"
- Davúd [???], prolific symphonist (wrote 50 symphonies)
- Andrew Lobotch, composer known for contrapuntal maqam music
- Six Cello Suites after Bach in G Rast, D Saba, C Hijaz, Eb Ajam, C Nahawand, and D Bayat
- Walter Ytfield, contemporary tuning theorist and maqam scholar
- the Lióbacz-Ytfield dispute on whether maqams are scales or melodic frameworks
- Arve Anedь, minimalist composer