Xaetjeon: Difference between revisions

From Linguifex
Jump to navigation Jump to search
mNo edit summary
Line 61: Line 61:
==Notation==
==Notation==


=Sjowaazheñ music=
=Sjowaazhéñ music=
(Created by User:IlL)
(Created by User:IlL)


[[Sjowaazheñ]] music is either monophonic or homophonic. Accompaniment, if present at all, is sparse and consists of only one voice (in addition to percussion).
[[Sjowaazhéñ]] music is either monophonic or homophonic. Accompaniment, if present at all, is sparse and consists of only one voice (in addition to percussion).


==Instruments==
==Instruments==
Some Sjowaazheñ instruments are the lute (''ya'ook''), various spike fiddles (''shjhedgaañt''), the lyre (''biliiwid''), various end-blown flutes (''joweet'''), a large drum (''khool'') and the woodblock (''ghonyeeñ''). String instruments usually are unfretted but marked at perfect fourths.
Some Sjowaazhéñ instruments are the lute (''ya'ook''), various spike fiddles (''shjhedgaañt''), the lyre (''biliiwid''), various end-blown flutes (''joweet'''), a large drum (''khool'') and the woodblock (''ghonyeeñ''). String instruments usually are unfretted but marked at perfect fourths.


==Tuning==
==Tuning==
The Sjowaazheñ tradition takes a purely melodic, rather than harmonic, approach to tuning, unlike the [[Verse:Tricin/Talma/Music|Talman]] and [[Verse:Tricin/Bjeheond/Music|Bjeheondian]] traditions. Traditionally, the building blocks of Sjowaazheñ scales are tetrachords or pentachords, i.e. divisions of the perfect fourth into three or four intervals. Innovations over the years have led to finer divisions or "n-chords" of the perfect fourth being used in more "sophisticated" music. Nevertheless, steps in any n-chord are no smaller than about 50 cents.
The Sjowaazhéñ tradition takes a purely melodic, rather than harmonic, approach to tuning, unlike the [[Verse:Tricin/Talma/Music|Talman]] and [[Verse:Tricin/Bjeheond/Music|Bjeheondian]] traditions. Traditionally, the building blocks of Sjowaazhéñ scales are tetrachords or pentachords, i.e. divisions of the perfect fourth into three or four intervals. Innovations over the years have led to finer divisions or "n-chords" of the perfect fourth being used in more "sophisticated" music. Nevertheless, steps in any n-chord are no smaller than about 50 cents.


The general term for an n-chord in Sjowaazheñ is ''hañbaác'' (pl. ''hañbaacín'').
The general term for an n-chord in Sjowaazhéñ is ''hañbaác'' (pl. ''hañbaacín'').


The octave may be divided into two perfect fourths plus one whole tone, to form a scale type known as '' 'aañjh''. However, in monophonic music, the perfect fourths divided into ''hañbaacín'' may even be stacked on top of each other indefinitely, without regard to octave equivalence, a practice called ''shiilyohookh''. The same ''hañbaác'' or melody may be imitated a fourth above or below in this case. Or, the melody may be voiced in parallel fourths in an organum-like fashion (the only example of harmony in Sjowaazheñ music).
The octave may be divided into two perfect fourths plus one whole tone, to form a scale type known as '' 'aañjh''. However, in monophonic music, the perfect fourths divided into ''hañbaacín'' may even be stacked on top of each other indefinitely, without regard to octave equivalence, a practice called ''shiilyohookh''. The same ''hañbaác'' or melody may be imitated a fourth above or below in this case. Or, the melody may be voiced in parallel fourths in an organum-like fashion (the only example of harmony in Sjowaazhéñ music).


[[Verse:Tricin/Etsoj Jopah|Etsoj Jopah]] analyzed ''hañbaacín'' in terms of rational divisions of string lengths. More recently, the theorist Wañjeyi proposed representing the Sjowaazheñ musical system by dividing the octave into 58 equal parts. One of his rationales was that the perfect fourth in 58edo is 24 steps, a highly composite number.
[[Verse:Tricin/Etsoj Jopah|Etsoj Jopah]] analyzed ''hañbaacín'' in terms of rational divisions of string lengths. More recently, the theorist Wañjeyi proposed representing the Sjowaazhéñ musical system by dividing the octave into 58 equal parts. One of his rationales was that the perfect fourth in 58edo is 24 steps, a highly composite number.


===Some ''hañbaacín''===
===Some ''hañbaacín''===
Line 83: Line 83:
The numbers shown are approximate 58 equal temperament equivalents of step sizes.
The numbers shown are approximate 58 equal temperament equivalents of step sizes.
====Tetrachords====
====Tetrachords====
Sjowaazheñ tetrachords prefer to keep very large steps in the middle.
Sjowaazhéñ tetrachords prefer to keep very large steps in the middle.
*''beeky'ogh 'aad'': 11 10 3
*''beeky'ogh 'aad'': 11 10 3
*''beeky'ogh jyek'': 10 11 3
*''beeky'ogh jyek'': 10 11 3
Line 104: Line 104:


==Rhythm==
==Rhythm==
Sjowaazheñ music is typically unmetered, except ceremonial or military music. There is a smallest note length, and there may be small basic rhythmic figures in the melody, but the rhythms are not organized into measures. When percussion accompaniment is used, "small" percussion such as woodblocks may sound on each "beat" in the music. The drum marks the beginning and end of sections.
Sjowaazhéñ music is typically unmetered, except ceremonial or military music. There is a smallest note length, and there may be small basic rhythmic figures in the melody, but the rhythms are not organized into measures. When percussion accompaniment is used, "small" percussion such as woodblocks may sound on each "beat" in the music. The drum marks the beginning and end of sections.


==Styles==
==Styles==
==Notation==
==Notation==
Much of Sjowaazheñ music was traditionally improvised. Sjowaazheñ notation works a little like unheightened neumes: it marks rhythm and rough melodic contours. The ''hañbaác'' to be used is also indicated. Much is left to the discretion of the performer, however.
Much of Sjowaazhéñ music was traditionally improvised. Sjowaazhéñ notation works a little like unheightened neumes: it marks rhythm and rough melodic contours. The ''hañbaác'' to be used is also indicated. Much is left to the discretion of the performer, however.


In modern times, modern Talman staff notation (assuming a 58edo or 87edo framework) may be used, although this is often deemed less than satisfactory for Sjowaazheñ music.
In modern times, modern Talman staff notation (assuming a 58edo or 87edo framework) may be used, although this is often deemed less than satisfactory for Sjowaazhéñ music.


==Famous musicians and composers==
==Famous musicians and composers==

Revision as of 01:02, 3 March 2018

Naquian music

Instruments

Tuning

Naquian music uses 7-tone scales rich in neutral thirds. Scales are abstractly viewed as subsets of a scale with 27 roughly equal steps per octave. The 3L 4s MOS scale (5 3 3 5 3 5 3) may be used, but they use other, non-MOS 7-note scales as well. The quasi-equal 6L 1s MOS scale (4 4 4 4 4 4 3) in 27edo is mainly used as a reference point rather than as an actual musical scale, in that notation is based on the 6L 1s scale in the same way that Western notation is based on the diatonic scale.

Movement by one step of 27edo is usually avoided, since it is considered difficult to sing.

Historically other micro-divisions have been used or proposed - especially 27-well temperaments, 17-well temperaments or 17-equal.

Rhythm

Styles and forms

Notation

Sjowaazhéñ music

(Created by User:IlL)

Sjowaazhéñ music is either monophonic or homophonic. Accompaniment, if present at all, is sparse and consists of only one voice (in addition to percussion).

Instruments

Some Sjowaazhéñ instruments are the lute (ya'ook), various spike fiddles (shjhedgaañt), the lyre (biliiwid), various end-blown flutes (joweet'), a large drum (khool) and the woodblock (ghonyeeñ). String instruments usually are unfretted but marked at perfect fourths.

Tuning

The Sjowaazhéñ tradition takes a purely melodic, rather than harmonic, approach to tuning, unlike the Talman and Bjeheondian traditions. Traditionally, the building blocks of Sjowaazhéñ scales are tetrachords or pentachords, i.e. divisions of the perfect fourth into three or four intervals. Innovations over the years have led to finer divisions or "n-chords" of the perfect fourth being used in more "sophisticated" music. Nevertheless, steps in any n-chord are no smaller than about 50 cents.

The general term for an n-chord in Sjowaazhéñ is hañbaác (pl. hañbaacín).

The octave may be divided into two perfect fourths plus one whole tone, to form a scale type known as 'aañjh. However, in monophonic music, the perfect fourths divided into hañbaacín may even be stacked on top of each other indefinitely, without regard to octave equivalence, a practice called shiilyohookh. The same hañbaác or melody may be imitated a fourth above or below in this case. Or, the melody may be voiced in parallel fourths in an organum-like fashion (the only example of harmony in Sjowaazhéñ music).

Etsoj Jopah analyzed hañbaacín in terms of rational divisions of string lengths. More recently, the theorist Wañjeyi proposed representing the Sjowaazhéñ musical system by dividing the octave into 58 equal parts. One of his rationales was that the perfect fourth in 58edo is 24 steps, a highly composite number.

Some hañbaacín

There are some dozens of hañbaacín.

The numbers shown are approximate 58 equal temperament equivalents of step sizes.

Tetrachords

Sjowaazhéñ tetrachords prefer to keep very large steps in the middle.

  • beeky'ogh 'aad: 11 10 3
  • beeky'ogh jyek: 10 11 3
  • esyooñ: 10 10 4
  • claañ: 9 8 7
  • naajyetoh: 8 8 8 (similar to the equable diatonic genus)
  • seeclaañ: 7 8 9
  • bajiñd: 7 7 10
  • slot'an: 6 6 12
  • ookasdiñ: 3 19 2
  • moc'aash: 2 11 11

Pentachords

  • jook'etoh: 6 6 6 6
  • yiisli: 7 6 6 5
  • seeyiisli: 5 6 6 7
  • jlatoñsheh: 3 9 7 3

Larger hañbaacín

Rhythm

Sjowaazhéñ music is typically unmetered, except ceremonial or military music. There is a smallest note length, and there may be small basic rhythmic figures in the melody, but the rhythms are not organized into measures. When percussion accompaniment is used, "small" percussion such as woodblocks may sound on each "beat" in the music. The drum marks the beginning and end of sections.

Styles

Notation

Much of Sjowaazhéñ music was traditionally improvised. Sjowaazhéñ notation works a little like unheightened neumes: it marks rhythm and rough melodic contours. The hañbaác to be used is also indicated. Much is left to the discretion of the performer, however.

In modern times, modern Talman staff notation (assuming a 58edo or 87edo framework) may be used, although this is often deemed less than satisfactory for Sjowaazhéñ music.

Famous musicians and composers

  • Gyaácl'osh: court composer, shjhedgaañt player
  • Wañjéyi: theorist and composer

Hetomosphere music

Hetomic and Pelhyys music belong to the same Hetomosphere tradition.

Trây music

Trây music uses inharmonic quasi-equal tunings of e.g. 5, 7, 9, 13, 14 notes per octave. As such, inharmonic instruments like marimbas and metallophones predominate.

Derkha music