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'''Bjeheondian music''' is a monophonic tradition based on [[Netagin]] music. In modern times it is usually notated based on a diatonic-based notation with accidentals for non-fifth-based notes. However, real-world intonational practices are not fixed to a particular tuning and use traditional microtonal inflections or fine-tuned intervals, and they differ by region and context. Both court and folk music are usually based on scales similar to the semiquartal (5L 4s MOS) scale, the nine-note scale LLSLSLSLS which is an extension of the familiar pentatonic scale; restriction of melodies to the pentatonic scale shows up sometimes. Diatonic-like melodic shapes sometimes arise as a consequence of altering the semiquartal scale. | '''Bjeheondian music''' is a monophonic tradition based on [[Netagin]] music. | ||
== Tuning == | |||
Bjeheondian music appears "microtonal" or "xenharmonic" from our modern Western perspective. In modern times it is usually notated based on a diatonic-based notation with accidentals for non-fifth-based notes. However, real-world intonational practices are not fixed to a particular tuning and use traditional microtonal inflections or fine-tuned intervals, and they differ by region and context. Both court and folk music are usually based on scales similar to the semiquartal (5L 4s MOS) scale, the nine-note scale LLSLSLSLS which is an extension of the familiar pentatonic scale; restriction of melodies to the pentatonic scale shows up sometimes. Diatonic-like melodic shapes sometimes arise as a consequence of altering the semiquartal scale. | |||
A ''hanier'' /hɐ'nɪɾ/ (literally 'stepping'; Wdm. ''hănier'') consists of a nine-note scale plus which subsets to emphasize, either a set of two ''pezům'' /pɛ'zuəm/ (pentachords, lit. 'set of five'; Nurian ''seałŧaļ'', Wdm. ''păsuam'') or a framework based on a ''buri'' /by'ɾi/ (lit. 'sprint'; Wdm. ''büri''), a pentatonic subset where 1\19 is not used as a step. Different styles encourage different subset use. | A ''hanier'' /hɐ'nɪɾ/ (literally 'stepping'; Wdm. ''hănier'') consists of a nine-note scale plus which subsets to emphasize, either a set of two ''pezům'' /pɛ'zuəm/ (pentachords, lit. 'set of five'; Nurian ''seałŧaļ'', Wdm. ''păsuam'') or a framework based on a ''buri'' /by'ɾi/ (lit. 'sprint'; Wdm. ''büri''), a pentatonic subset where 1\19 is not used as a step. Different styles encourage different subset use. | ||
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Some important modern ''hanier'' artists include composers Baqůr Dyhieć and Qypaś Nabak and singer Stow fa Fitsmil. Some modern composers have introduced hanier counterpoint. | Some important modern ''hanier'' artists include composers Baqůr Dyhieć and Qypaś Nabak and singer Stow fa Fitsmil. Some modern composers have introduced hanier counterpoint. | ||
Commonly used tonics/keys are Edb, Bdb, C, D, F, and G. | |||
== Instruments == | == Instruments == | ||
The most important instrument in Bjeheondian music is the human voice. Instruments such as ouds, Talman fiddles, qanuns, modern electronic keyboards and various percussion instruments are also used. | The most important instrument in Bjeheondian music is the human voice. Instruments such as ouds, Talman fiddles, qanuns, modern electronic keyboards and various percussion instruments are also used. | ||