139,698
edits
Verse:Hmøøh/Tumhan/Music: Difference between revisions
Jump to navigation
Jump to search
m
→History
m (→Instruments) |
m (→History) |
||
| Line 16: | Line 16: | ||
There is evidence that the Netagin at one point used a quasi-equiheptatonic system similar to our Thai music. Older musical treatises describe a 14-note system, suggesting that 7 more notes were added to the octave for extra chromatic gestures. The chromatic gestures used in melodic music developed over time resulting in the ''hanier'' system. | There is evidence that the Netagin at one point used a quasi-equiheptatonic system similar to our Thai music. Older musical treatises describe a 14-note system, suggesting that 7 more notes were added to the octave for extra chromatic gestures. The chromatic gestures used in melodic music developed over time resulting in the ''hanier'' system. | ||
Talman influence eventually led the Netagin to adopt 19edo as their abstract gamut. Though the Netagin traditionally did not view the 9-note framework as a tempered JI framework, later Windermere influence also shifted performance practice towards 2.3.7 JI in certain (esp. harmonic) contexts, establishing 7-limit JI notes as acceptable variations of the existing notes. Nowadays, some Netagin-speaking areas and contexts are close to following the tempered 2.3.7 interpretation (called semaphore[9] in regular temperament theory), using different JI preimages for the same scale note depending on context. However, most contexts and regions have retained JI-agnostic intonation practices. | Talman influence eventually led the Netagin to adopt 19edo as their abstract gamut. Though the Netagin traditionally did not view the 9-note framework as a JI or tempered JI framework, later Windermere influence also shifted performance practice towards 2.3.7 JI in certain (esp. harmonic) contexts, establishing 7-limit JI notes as acceptable variations of the existing notes. Nowadays, some Netagin-speaking areas and contexts are close to following the tempered 2.3.7 interpretation (called semaphore[9] in regular temperament theory), using different JI preimages for the same scale note depending on context. However, most contexts and regions have retained JI-agnostic intonation practices. | ||
33edo and larger edos have also been proposed to describe the ''hanier'' system. | 33edo and larger edos have also been proposed to describe the ''hanier'' system. | ||