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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 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. | 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. | ||
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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. | 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 | 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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===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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===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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==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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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. | 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 | 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=== | ||