Literature talk:Little Red Riding Hood: Difference between revisions
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Traditional Wiobian music is melodious with relatively sparse accompaniment, often having two melodic voices in counterpoint for high-class music. More recent music calls for a more dense orchestration, The music is based on a scale with fifteen notes per octave, that is capable of both small movements in melody and harmonic shifts ranging from the subtle to the dramatic. A wealth of inharmonic instruments such as metallophones, marimbas, cymbals and drums serve as a backbone for this sonic landscape. However also valued are harmonic instruments such as the plucked zither-like ''Tünd'', the strummed and fretted ''Þaus-Bung'', and the bowed ''Nisch-Ker''; as well as fixed-pitch wind instruments, for their ability to imitate the human voice. | |||
Traditional Wiobian music is melodious with relatively sparse accompaniment, often having two melodic voices in counterpoint for high-class music. More recent music calls for a more dense orchestration | |||
The music is based on a scale with fifteen notes per octave, that is capable of both small movements in melody and harmonic shifts ranging from the subtle to the dramatic. |
Revision as of 18:46, 30 July 2015
Traditional Wiobian music is melodious with relatively sparse accompaniment, often having two melodic voices in counterpoint for high-class music. More recent music calls for a more dense orchestration, The music is based on a scale with fifteen notes per octave, that is capable of both small movements in melody and harmonic shifts ranging from the subtle to the dramatic. A wealth of inharmonic instruments such as metallophones, marimbas, cymbals and drums serve as a backbone for this sonic landscape. However also valued are harmonic instruments such as the plucked zither-like Tünd, the strummed and fretted Þaus-Bung, and the bowed Nisch-Ker; as well as fixed-pitch wind instruments, for their ability to imitate the human voice.