Verse:Hmøøh/Etsoj Jopah: Difference between revisions

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*''Muiḋillechaḋ Gnaoth'': a critical essay on the Sondmorið Manuscripts (in Amphirese)
*''Muiḋillechaḋ Gnaoth'': a critical essay on the Sondmorið Manuscripts (in Amphirese)
*(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'' (''I Væzónir Cáyya''); which included an analysis of the Naquian and Sjowaazheñ music of his time in terms of just intonation ratios
*''The Anatomy of Song'' (''I Vædzónir Cáyya''); which included an analysis of the Naquian and Sjowaazheñ music of his time in terms of just intonation ratios

Revision as of 23:59, 6 March 2018

Etsoj Jopah (pseudonym Lothair Raeḋḃa; born fT 979 - fT 1056) was a Naquian author and philosopher. He's known for his contributions to Talman music theory.

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Post-Gariad, post-war

Personality

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

Languages: Tizian (native), Naquian, Eevo, Amphirese and Rhythoed (fluent), Tigol, Tamil, Sjowaazhéñ, Windermere and Thensarian (can read)

Biographical sketch

Jopah was born in the village of Quintłopez ...

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

Jopah believed that ancient Talman science, philosophy, music and languages were unified, 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 Sondmorið Manuscripts, 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 lungs (séimhiú), the throat ("plain" consonants and vowels), and the nose (urú). Its grammar, Jopah believed, reflected an underlying action-oriented philosophy. A Tigol verb and its conjugation 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 commentary on the story of the round table from the Ngăthoar 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

Tuning theory

His Muiḋillechaḋ Gnaoth 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.

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:

 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.

Works

  • The Songbird: a play
  • (a poetry anthology)
  • A History of Vegetarianism
  • Muiḋillechaḋ Gnaoth: a critical essay on the Sondmorið Manuscripts (in Amphirese)
  • (motivational lectures); officially part of his The Songbird but often treated as a separate work
  • The Anatomy of Song (I Vædzónir Cáyya); which included an analysis of the Naquian and Sjowaazheñ music of his time in terms of just intonation ratios