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Xaetjeon: Difference between revisions
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Sjowaazheñ music is mostly monophonic. If present at all, accompaniment is sparse and consists of only one voice (in addition to percussion). | Sjowaazheñ music is mostly monophonic. If present at all, accompaniment is sparse and consists of only one voice (in addition to percussion). | ||
==Tuning== | ==Tuning== | ||
The Sjowaazheñ tradition takes a purely melodic, rather than harmonic, approach to tuning, unlike the Talman and Bjeheondian traditions. Sjowaazheñ scales are traditionally based around tetrachords or pentachords which divide the perfect fourth into three or four | The Sjowaazheñ tradition takes a purely melodic, rather than harmonic, approach to tuning, unlike the Talman and Bjeheondian traditions. Sjowaazheñ scales are traditionally based around tetrachords or pentachords which divide the perfect fourth into three or four intervals. Innovations over the years have led to finer divisions of the perfect fourth in more "sophisticated" music. The octave may be divided into two perfect fourths plus one whole tone. However, in monophonic music, the perfect fourths divided into n-chords may even be stacked on top of each other indefinitely, without regard to octave equivalence. | ||
More recently, the theorist Wañjeyi proposed representing the Sjowaazheñ musical system by dividing the octave into 58 equal parts. [4/3 is 24 steps in 58, a highly composite number. Or maybe 29edo is fine since they aren't very concerned with harmony.] | More recently, the theorist Wañjeyi proposed representing the Sjowaazheñ musical system by dividing the octave into 58 equal parts. [4/3 is 24 steps in 58, a highly composite number. Or maybe 29edo is fine since they aren't very concerned with harmony.] | ||