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Verse:Hmøøh/Etsoj Jopah: Difference between revisions
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'''Etsoj Jopah''' (pseudonym '''Lothair | '''Etsoj Jopah''' ([[Eevo]]: /ɛtsui jɔpʰah/ [[Windermere]]: ''Etsoy Yopach''; [[Tigol]] pseudonym '''Lothair Raeḃḋa'''; born fT 979 - fT 1056) was a Naquian-born author, classicist and ''pida'' (Mărotłite teacher) who is credited with founding Snialism (Mărotłite mysticism). He's also known for his contributions to [[Talma]]n music theory. | ||
=Todo= | =Todo= | ||
Need more Snialism | Need more Snialism | ||
=Personality= | =Personality= | ||
Traits: Outgoing and witty, and a little pedantic at times | Traits: Outgoing and witty, and a little pedantic at times | ||
Languages: Tizian (native), [[ | Languages: [[Tizian]] (native), [[Naquian]], [[Tseer]], [[Skellan]], [[Windermere/Classical|Classical Windermere]] (fluent), [[Tigol]]/[[Thensarian]], [[Netagin]], [[Nurian]] (can read) | ||
=Biographical sketch= | =Biographical sketch= | ||
Jopah was born in the village of | Jopah was born in fT 979 (18 years after the end of the Grouidite Revolution) in the village of Quintlopetl ... | ||
Jopah went on to teach at various universities in both Talma and Naquiz. | Jopah went on to teach at various universities in both Talma and Naquiz. However, his ideas did not gather much influence in Naquiz. | ||
=Philosophical ideas= | =Philosophical ideas= | ||
Jopah believed that ancient Talman science, philosophy, music and languages | ==Narratives and dramaturgy== | ||
==Talman culture== | |||
Jopah believed that ancient Talman science, philosophy, music and languages reflected one underlying reality, and all of them were simply lenses through which the human world and possibly even the physical world could be understood comprehensively. He often explored the interconnections between these different perspectives, interpreting facets of one discipline in terms of another. | |||
The language of the | The language of the Foranlaíd, [[Tigol]], with its rich phonetic and grammatical system provided him with lots of musical and philosophical ideas. He believed that Tigol was unique among Trician languages in that it had sounds articulated at three different points in the body: the throat (voicing mutation), the mouth ("plain" consonants and vowels), and the nose (nasal mutation). [todo: also do something like Sefer Yetzirah] Its grammar, Jopah believed, reflected an underlying action-oriented philosophy. A Tigol verb and its absolute and conjunct conjugations reflect the essence of the action described by it, and that the dominant languages spoken in his time, according to him, work too mechanically and fail to capture this essence. | ||
His | His commentary on the story of the round table from the Imthumăytil foreshadowed the discovery of quarks. He wondered if perhaps, the atoms and particles that were know at the time are just combinations of other smaller particles acting in concert. | ||
=Contributions= | =Contributions= | ||
==Tuning theory== | ==Tuning theory== | ||
His | His ''Muiḋillechaḋ Gnaoth'' described a wide variety of just intonation tunings, including: | ||
* eikosanies and other CPS's | * eikosanies and other CPS's | ||
* constant structures | * constant structures | ||
Jopah's work laid the foundation for Talman music in the last three centuries | Jopah's work laid the foundation for Talman music in the last three centuries. | ||
It's remarkable that Jopah composed very little during his lifetime; only one piece of his survives, '' | It's remarkable that Jopah composed very little during his lifetime; only one piece of his survives, ''Dem·lathṁar an mbróŋae den cesand'' (meaning? should be a sentence). However, Jopah's poetry is very popular in modern Talma and has been set to music by quite a few composers; most notably the Clofabian composer Abediterol Benadryl. | ||
Jopah's understanding of tuning was more metaphysical than practical. For example Jopah proposed a novel 31 tone scale: | Jopah's understanding of tuning was more metaphysical than practical. For example Jopah proposed a novel 31 tone scale: | ||
1/1 64/63 21/20 16/15 35/32 10/9 8/7 7/6 6/5 128/105 5/4 80/63 21/16 4/3 48/35 45/32 64/45 35/24 3/2 32/21 63/40 8/5 512/315 5/3 12/7 7/4 9/5 64/35 15/8 40/21 63/32 2/1 | |||
in his commentary on Sondmorið which is directly influenced by the Tigol consonant system. The remarkable thing about this scale was that it consisted of 31 roughly equal divisions to the octave. | in his commentary on Sondmorið which is directly influenced by the Tigol consonant system. The remarkable thing about this scale was that it consisted of 31 roughly equal divisions to the octave. | ||
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*(a poetry anthology) | *(a poetry anthology) | ||
*''A History of Vegetarianism'' | *''A History of Vegetarianism'' | ||
* | *''Muiḋillechaḋ Gnaoth'': a critical essay on the Sondmorið Manuscripts (in Windermere) | ||
*(motivational lectures); officially part of his ''The Songbird'' but often treated as a separate work | *(motivational lectures); officially part of his ''The Songbird'' but often treated as a separate work | ||
*''The Anatomy of Song'' | *''The Anatomy of Song'' (''I Vaidzónir Cáyya'') | ||
**an analysis of the Naquian and Sowaár music of his time in terms of just intonation ratios | |||
**an analysis of Ancient Tseezh theater | |||
=Personal life= | |||
[Left as an exercise for the reader.] | |||