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:''The Talman just intonation tunings and scales are due to Praimhín.'' | :''The Talman just intonation tunings and scales are due to Praimhín.'' | ||
'''Talman music''' | '''Talman music''' is the longest continuous tradition of just intonation music in Tricin, and [[Verse:Tricin/Bjeheond/Music|Bjeheondian music]], and other Trician JI traditions such as [[Verse:Tricin/Fyxoom/Music|Fyxoomian music]] have Talman influences. Intervals are viewed as rational frequency ratios or approximations thereof, which have not only factors of 2, 3 and 5, but also 7, 11, 13 and higher primes which may not be well-represented in Western European music. In contrast, modern Talman music may use various non-just intonation scales, inspired by other Trician musical traditions. | ||
Talmans traditionally preferred smaller ensembles; larger orchestras are a Classical and Romantic development. | Talmans traditionally preferred smaller ensembles; larger orchestras are a Classical and Romantic development. | ||
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==History== | ==History== | ||
Some conjectured reasons that JI and other high-dimensional tunings have been a mainstay in Talman music for so long are: | Some conjectured reasons that JI and other high-dimensional tunings have been a mainstay in Talman music for so long are: | ||
* No equal temperament of size less than ~ 41 supported | * No equal temperament of size less than ~ 41 supported most of the features that Talman composers desired. | ||
* Fixed pitch instruments were disfavored partly because of vegetarianism disallowing the use of animal glue. | * Fixed pitch instruments were disfavored partly because of vegetarianism disallowing the use of animal glue. | ||
* Modern Talmosphere art music combines JI-like sonorities, meantone and a particular "Romantic" style that contrasts beating with solid consonance. | |||
===Origins=== | ===Origins=== | ||
The earliest recorded Talman musical tradition was based on throat-singing. Primes higher than 5 came from | The earliest recorded Talman musical tradition was based on throat-singing. Primes higher than 5 came from a tradition of throat singing where, according to contemporary sources, having a deep voice and the ability to throat-sing higher harmonics clearly was seen as a mark of masculinity. | ||
===Early Gweats court music=== | ===Early Gweats court music=== | ||
The earliest surviving Gweats court music continues the early tradition of overtone scales based on one fundamental. The scales were based on overtones 5-10, overtones 6-12 or overtones 7-14, depending on the status of the client. But the scales had other notes added (such as 21/16) to allow more interesting melodies. Rhythmic devices such as syncopation and polyrhythms were also used. | |||
=== | |||
Medieval Mărotlian | ===Classical Gweats music=== | ||
Imperial Windermere composer Tsăhongtamdi's treatise [[Literature:Elements of Harmony|''Elements of Harmony'']] (CWdm: ''Yămyămał clisăyfäl'') describes just intonation ratios and the process of playing them on strings. Tsăhongtamdi describes Partchian tonality diamonds and similar scales as extensions of overtone scales over a single fundamental which was the staple in music at that time, to multiple related fundamentals. | |||
Tsăhongtamdi's most influential recommendation was against using fixed-pitch instruments; he argued that they were expressively limited. This recommendation was lasting in influence - most instruments used in traditional Talman music are flexible-pitch instruments. Since Mărotłism banned the killing of mammals but not of fish, fish glue and hoof glue could be used for repairs instead of hide glue. Hence viola organistas and harpsichords tuned to tonality diamond scales were commonly used in imperial Windermere music. | |||
===Liturgical music=== | |||
Medieval Mărotlian liturgical chanting used much simpler scales than court music: | |||
*Overtone scales: modes of overtones 5 to 10 (E G Bb C D E), 6 to 12 (G Bb C D E F), or 7 to 14. May be sung over a drone. | *Overtone scales: modes of overtones 5 to 10 (E G Bb C D E), 6 to 12 (G Bb C D E F), or 7 to 14. May be sung over a drone. | ||
*Undertone scales: modes undertones 5 to 10 or 6 to 12. | *Undertone scales: modes undertones 5 to 10 or 6 to 12. | ||
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===Jopahite Period=== | ===Jopahite Period=== | ||
This period used scales that [[Verse:Tricin/Etsoj Jopah|Etsoj Jopah]] discovered, such as | This period used scales that [[Verse:Tricin/Etsoj Jopah|Etsoj Jopah]] discovered, such as CPSes, Euler-Fokker genera, and constant structures. | ||
===Classical period=== | ===Classical period=== | ||
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===Romantic period=== | ===Romantic period=== | ||
The Romantic period was the longest period of Talman classical music. | The Romantic period was the longest period of Talman classical music. Forty-one tone equal temperament (41edo) began to be established for organs and other fixed-pitch instruments. | ||
====Early==== | ====Early==== | ||
Romantic composers emphasized emotion, humor, exuberance and contemplation. Romantic music often had an individualist ethos, which prompted the development of solo techniques. Early Romantic period composers used a free JI approach with microtempering, only sometimes flirting with more tempered scales. However, the use of equal temperaments were spurred on by the theorist Bloisin and the invention of the isomorphic keyboard in the later Romantic period. | Romantic composers emphasized emotion, humor, exuberance and contemplation. Romantic music often had an individualist ethos, which prompted the development of solo techniques. Early Romantic period composers used a free JI approach with microtempering, only sometimes flirting with more tempered scales. However, the use of equal temperaments were spurred on by the theorist Bloisin and the invention of the isomorphic keyboard in the later Romantic period. | ||
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====Gothicism==== | ====Gothicism==== | ||
Many late Romantic composers were involved in "Gothicism", for lack of a better term. Gothicism was a reaction against the polished, optimistic aesthetic of the Classical and early Romantic periods, and is inspired by Talman late Romantic era horror literature. Gothic music uses a lot of dissonant chords and blaring, raspy, sighing or murmuring timbres | Many late Romantic composers were involved in "Gothicism", for lack of a better term. Gothicism was a reaction against the polished, optimistic aesthetic of the Classical and early Romantic periods, and is inspired by Talman late Romantic era horror, supernatural and sci-fi literature. Gothic music uses a lot of dissonant or subtly beating chords in 41edo and blaring, raspy, sighing or murmuring timbres. This is often viewed as continuous with the Early Modern period. | ||
===Modern period=== | ===Modern period=== | ||
====Temperaments==== | ====Temperaments==== | ||
41edo is the norm for fixed pitch instruments. | |||
Experimental composers work with a variety of equal temperaments and rank-2 temperaments, including nonoctave scales (like the Bohlen-Pierce scale). They may even combine different systems. | |||
====Just intonation==== | ====Just intonation==== | ||
Modern technology as well as the Bjeheondian ''vi-na'' allowed exploration of higher harmonics from 16-32 and yet higher. | |||
===Neoclassicism=== | ===Neoclassicism=== | ||
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Free-pitch instruments are prized for their ability to play in any tuning; string quartets and quintets are fertile ground for explorations of tuning systems. | Free-pitch instruments are prized for their ability to play in any tuning; string quartets and quintets are fertile ground for explorations of tuning systems. | ||
*''ðavr'' | *''ðavr'' Ⓥ or = a 4-stringed fiddle, used for the treble register. | ||
**Tuning: 2:3:5:7, lowest string = 200 Hz | **Tuning: 2:3:5:7, lowest string = 200 Hz | ||
*''ñams'' | *''ñams'' Ⓥ = a viol-like 5-stringed bowed string instrument used for the treble and alto register | ||
**Tuning: 2:3:5:7:9, lowest string = 133 Hz | **Tuning: 2:3:5:7:9, lowest string = 133 Hz | ||
**softwood; arched plates; sound post; should be thicker than a viola and be played vertically | **softwood; arched plates; sound post; should be thicker than a viola and be played vertically | ||
*''ñamsóm'' | *''ñamsóm'' Ⓥ = an instrument the size of a large cello or small double bass which is tuned an octave lower than a ''ñams'' | ||
**Tuning: 2:3:4:5:7:9, lowest string = 67 Hz | **Tuning: 2:3:4:5:7:9, lowest string = 67 Hz | ||
*''txovíh'' Ⓥ = fretless steel guitar tuned to a hexany; steel frets | *''txovíh'' Ⓥ = fretless steel guitar tuned to a hexany; steel frets | ||
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*''gyvúas'' Ⓥ = a slide bassoon | *''gyvúas'' Ⓥ = a slide bassoon | ||
*''iskól'' Ⓥ = a slide flute | *''iskól'' Ⓥ = a slide flute | ||
*''çaswm'' | *''çaswm'' v = fretless guitar | ||
===Fixed-pitch=== | ===Fixed-pitch=== | ||
Smaller fixed pitch instruments (less than | Smaller fixed pitch instruments (less than 22 notes/octave) are tuned to specific JI scales; larger fixed-pitch instruments such as organs are usually tuned to 41edo. | ||
*viola organista (keyboard instrument with a rosined conveyer belt mechanism for the strings) | *viola organista (keyboard instrument with a rosined conveyer belt mechanism for the strings) | ||
*organ Ⓥ (with ivory-free keys) | *organ Ⓥ (with ivory-free keys) | ||
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*Organs for harpsichords, pianos and viola organistas. | *Organs for harpsichords, pianos and viola organistas. | ||
Thanks to the recent invention of cell-cultured gelatin and collagen in Fyxoom, vegetarian substitutions are no longer required for instruments that require gluing. | |||
==Melody== | ==Melody== | ||
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===Regional variations in rhythm=== | ===Regional variations in rhythm=== | ||
It is often said that regional variations in rhythm are influenced by the rhythms of the various languages spoken: | It is often said that regional variations in rhythm are influenced by the rhythms of the various languages spoken: | ||
*[[Windermere]] and [[Tseer]] music uses grace notes (i.e. short unstressed notes followed by a long stressed note) more often, because Windermere has minor syllables, and Tseer was heavily influenced by Windermere after the classical period. | |||
*[[Ciètian]] music uses Scotch snaps more often, because Ciètian has initial stress and unstressed long syllables. | *[[Ciètian]] music uses Scotch snaps more often, because Ciètian has initial stress and unstressed long syllables. | ||
*[[Anbirese]] and [[Skellan]] music, on the other hand, sounds more rhythmically neutral to English speakers, since Anbirese and Skellan are stress timed languages without phonemic vowel length. | |||
*[[Anbirese]] and [[Skellan]] music, on the other hand, | |||
==Musical genres and forms== | ==Musical genres and forms== | ||
Talman classical forms evolved from songs and court music forms. | Talman classical forms evolved from religious songs and court music forms. | ||
Some music attempts to convey narratives; this music is categorized as ''fryndu tlaneçol'' in [[Eevo]]. [This is not a precise category however, as even not-explicitly-programmatic music or music without lyrics often try to create a sense of "story" to some extent by using multiple parts.] | Some music attempts to convey narratives; this music is categorized as ''fryndu tlaneçol'' in [[Eevo]]. [This is not a precise category however, as even not-explicitly-programmatic music or music without lyrics often try to create a sense of "story" to some extent by using multiple parts.] | ||
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*ABA (ternary) | *ABA (ternary) | ||
*ABABAB... (rondo) | *ABABAB... (rondo) | ||
**[A B1] [A B2] [A B3] ... | **[A B1] [A B2] [A B3]... | ||
C can sometimes be used, most commonly in | C can sometimes be used, most commonly in | ||
*ABABCB | *ABABCB | ||
===Liturgical music=== | |||
Music sung to liturgical poems (in [[Windermere]] and sometimes [[Tigol]]) often follows the structure of the poem but different tunes may be used for different stanzas. | |||
If the poem follows a refrain-verse structure, the music follows a type of rondo form: | |||
[A B<sub>1</sub>] [A B<sub>2</sub>] [A B<sub>3</sub>]... | |||
where the B<sub>i</sub>'s are not necessarily all distinct. Much of the time each verse uses a different tune, and the verses themselves may have varying length. | |||
The same liturgical poem might use different melodies depending on the Mărotłite legal strictures for singing the words in different contexts. | |||
===Chamber music=== | ===Chamber music=== | ||
Chamber music was highly valued by Talmans. Pieces were commonly written for the Talman string quartet with two ''ðavr'', one '' | Chamber music was highly valued by Talmans. Pieces were commonly written for the Talman string quartet with two ''ðavr'', one ''ñams'' and one ''ñamsóm''. | ||
===Art songs=== | ===Art songs=== | ||
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===Polyphonic music=== | ===Polyphonic music=== | ||
A common style of polyphony, called ''xeetxeroog'' in [[Tseer]] and ''binchălismoay'' in [[ | A common style of polyphony, called ''xeetxeroog'' in [[Tseer]] and ''binchălismoay'' in [[Windermere]], uses two melodic lines in a JI scale or free JI, and explores the JI dyadic harmony formed by the melodic lines. ''Xeetxeroog'' with three or more voices are considered quite adventurous. | ||
More familiar techniques like canons and fugues occur during the Romantic period. Polyphony in general was seen as depicting a dialogue between characters. | More familiar techniques like canons and fugues occur during the Romantic period. Polyphony in general was seen as depicting a dialogue between characters. | ||
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===Tone poems=== | ===Tone poems=== | ||
==Notation== | ==Notation== | ||
===Gamut=== | ===Gamut=== | ||