138,726
edits
User:IlL/Spare pages 1/17: Difference between revisions
m
IlL moved page User:IlL/Spare pages 1-99/17 to User:IlL/Spare pages 1/17 without leaving a redirect
m (→Music) |
m (IlL moved page User:IlL/Spare pages 1-99/17 to User:IlL/Spare pages 1/17 without leaving a redirect) |
||
| (6 intermediate revisions by the same user not shown) | |||
| Line 6: | Line 6: | ||
== Music == | == Music == | ||
Corvin music tends to emphasize harmony, rhythm and timbre much more than melody, which most corvins consider a part of language instead. Corvins often sing in groups. Much of corvin music is based on chord-scale theory. In songs, the melody is considered part of the lyrics and is in the chord-scale the music is currently in | Corvin music tends to emphasize harmony, rhythm and timbre much more than melody, which most corvins consider a part of language instead. Corvins often sing wordlessly in groups. Much of corvin music is based on chord-scale theory. In songs, the melody is considered part of the lyrics and is in the chord-scale the music is currently in. Corvin music uses many kinds of inharmonic timbres (many more than human music) as well as harmonic ones. | ||
* Most early recorded corvin musical traditions are overtone singing and other timbral singing traditions demanding the various timbral nuances the corvin syrinx is capable of. | * Most early recorded corvin musical traditions are overtone singing and other timbral singing traditions demanding the various timbral nuances the corvin syrinx is capable of. | ||
* Primodality: Corvins use primodality to impart colors to chord-scales and sung dyad phonemes. | * Primodality: Corvins use primodality to impart colors to chord-scales and sung dyad phonemes. | ||
* There is also a culture that uses soundscapes made by non-ji/inharmonic/pseudo-JI chords. | * There is also a culture that uses soundscapes made by non-ji/inharmonic/pseudo-JI chords. | ||