Etsoj Jopah (pseudonym Lothair Raeḋḃa) was a Naquian author and philosopher. He's known for his contributions to Talman music theory.

Todo

Need more Snialism

one story could involve a precocious child
she's asked the question, in a round table of six people "how many of us are there"
everyone is asked that question
while most of them are busy counting, she responds with this:
"63: 6 individuals, 15 teams of two, 20 teams of 3, etc."
that could be a story in the ngăthoar
and then a wise old man counters, well, how many more people will be there if another one enters
and the kid responds, we have all our old teams, as well as a new set of teams with the new person added
the pascal recurrence
one snialist (possibly jopah) could point out that the kid's figure of 63 came from an idealist mindset where there was no conflict
otherwise, the value would go down
and CS's perhaps embody peace in that way

Post-Gariad, post-war

Personality

Traits: Outgoing and witty, and a little pedantic at times

Languages: Tizian (native), Sjowaazheñ, Eevo, Anvirese and Rhythoed (fluent), Tigol, Tamil, Windermere and Thensarian (can read)

Biographical sketch

Jopah taught at various universities in Talma and Naquiz.

Contributions

Tuning theory

His (commentary on Sondmorið) described a wide variety of just intonation tunings, including:

eikosanies and other CPS's
constant structures

Jopah's work laid the foundation for Talman music in the last three centuries. In particular, his work on constant structures inspired Rhooc Askuucis's subsequent work on equal temperaments.

It's remarkable that Jopah composed very little during his lifetime; only one piece of his survives, Tłüa thrăhoy id-Eal mi-Wă'ech (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. He believed that ancient Talman philosophy, music and languages were unified. He often went beyond the texts and turned to the ancient Tigol, Windermere and Thensarian languages themselves for musical and philosophical ideas. For example Jopah proposed a novel 31 tone scale:

 1/1 64/63 21/20 16/15 35/32 9/8 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 16/9 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.

Works

The Songbird: a play
(a poetry anthology)
A History of Vegetarianism
[some windermere compound word]: a critical essay on the Sondmorið Manuscripts
(motivational lectures); officially part of his The Songbird but often treated as a separate work
The Anatomy of Song; which included an analysis of the Naquian music of his time in terms of just intonation ratios

Verse:Hmøøh/Etsoj Jopah

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