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*''penicillin'', a [[w:psalmodicon|psalmodicon]]-like instrument (which is, incidentally, called ''moldpill'' in Estonian) | *''penicillin'', a [[w:psalmodicon|psalmodicon]]-like instrument (which is, incidentally, called ''moldpill'' in Estonian) | ||
*''ditoren'', the crychord (the national instrument of Clofabolocin) | *''ditoren'', the crychord (the national instrument of Clofabolocin) | ||
*the ''dorzan'', a harp which came from the Tamil yazh | *the ''dorzan'', a harp which came from the Tamil yazh | ||
*the ''amoltin'', a Ferlitian metallophone | *the ''amoltin'', a Ferlitian metallophone | ||
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The earliest forms of Ferlitian music were hymns (''yemetnyare'') and did not use instruments. These were connected with various aspects of Ferlitian animism and shamanism. The amoltin evolved in Ferlitia from gamelan music, brought to Ferlitia by immigrants from Indonesia. | The earliest forms of Ferlitian music were hymns (''yemetnyare'') and did not use instruments. These were connected with various aspects of Ferlitian animism and shamanism. The amoltin evolved in Ferlitia from gamelan music, brought to Ferlitia by immigrants from Indonesia. | ||
Ferlitia has a very rich tradition of tuning theory which stems from the Rietzic mathematical tradition -- the Ferlitian theorist Altemezwar (Aldamezor) is famous for discovering formulas in Tricin to accurately compute log(2) and other irrational numbers, and applying these to musical scales. Aldamezor proposed a 41 tone division of the octave based on the formula log(2) = 10 log(81/80) + 14 log(64/63) + 12 log(49/48) + 5 log(50/49), which today is known as "the Ferlitian scale" outside of Ferlitia though it was mainly a theoretical construct. He also wrote treatises on amoltin tuning and its connection to concordance and proposed various harmonic profiles when designing amoltins, and addressed the aesthetic differences between equal temperament and just intonation mostly when used for melody, and suggested a very unequal slendric as a tuning for amoltins, approaching 41 tones of 113edo. This had the effect of making neutral thirds in Ferlitian music come in wider and narrower variations, very much like in maqam music. Nowadays most amoltins use 41edo or golden magic temperament. | Ferlitia has a very rich tradition of tuning theory which stems from the Rietzic mathematical tradition -- the Ferlitian theorist Altemezwar (Aldamezor) is famous for discovering formulas in Tricin to accurately compute log(2) and other irrational numbers, and applying these to musical scales. Aldamezor proposed a 41 tone division of the octave based on the formula log(2) = 10 log(81/80) + 14 log(64/63) + 12 log(49/48) + 5 log(50/49), which today is known as "the Ferlitian scale" outside of Ferlitia though it was mainly a theoretical construct. He also wrote treatises on amoltin tuning and its connection to concordance and proposed various harmonic profiles when designing amoltins, and addressed the aesthetic differences between equal temperament and just intonation mostly when used for melody, and suggested a very unequal slendric as a tuning for amoltins, approaching 41 tones of 113edo. This had the effect of making neutral thirds in Ferlitian music come in wider and narrower variations, very much like in maqam music. Nowadays most amoltins use 41edo or golden magic temperament, and the latter, which is common in eastern Ferlitia, provides a close approximation to the ''fosbretadorzan'' and ''lisavadorzan'' scales from dorzan practice, sometimes used in Ferlitian music today. | ||
Nowadays synthesized amoltin music is becoming increasingly popular especially outside of Ferlitia. (Example from a Clofabian pop song?) | |||
[[Category:Music]] | [[Category:Music]] | ||