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Physicist Bów'ti Ma'kbów'tfais tried to extend the 22-note system to make it more compatible with playing various tetrachords found in Hetomic music theory. The result was a scale of 34 notes per octave. | Physicist Bów'ti Ma'kbów'tfais tried to extend the 22-note system to make it more compatible with playing various tetrachords found in Hetomic music theory. The result was a scale of 34 notes per octave. | ||
As later Shalian music saw a move away from tetrachords and towards more harmonic, chord-based sounds, emphasizing 7-limit intervals became desirable, thus also using a 22-note well-tempered scale with good harmonic sevenths. Modern Shalian music is standardized to 22-tone equal temperament. | As later Shalian music saw a move away from tetrachords and towards more harmonic, chord-based sounds, emphasizing 7-limit intervals became desirable, thus also using a 22-note well-tempered scale with good harmonic sevenths. Modern Shalian music is standardized to 22-tone equal temperament but this does not always reflect musical reality, as Shalian vocal music may go outside this system. | ||
===Instruments=== | ===Instruments=== | ||
The most important instrument in Shalian music is the human voice; but instruments such as violins, harpsichords, ocarinas, and various percussions may be used. | The most important instrument in Shalian music is the human voice; but instruments such as violins, harpsichords, ocarinas, and various percussions may be used. | ||
Vocal polyphony is an important part of Shalian music, especially in coming of age parties, festivities, and funerals. The glottal stops, stress accent and long-short rhythms of the Shalian language contribute to the quirky, theatrical-sounding rhythm of Shalian vocal music. | Vocal polyphony is an important part of Shalian music, especially in coming of age parties, festivities, and funerals. The glottal stops, stress accent and long-short rhythms of the Shalian language contribute to the quirky, theatrical-sounding rhythm of Shalian vocal music. | ||