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Verse:Irta/Music: Difference between revisions
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→Classical and Romantic music
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Classical and Romantic music are very similar to our timeline. | Classical and Romantic music are very similar to our timeline. | ||
Triadic polyphony in Irta evolved mainly from folk adaptations of Second Remonitionist polyphony, with melodic tendencies as in our timeline's "expressive intonation" resulting in a roughly 12 tone division of the octave. A notable difference is that the piano isn't as prominent -- in contrast, string ensembles and voice are given precedence which makes the classical idea of intonation in Irta much more fluid than in our timeline, with theorists often acknowledging subtle variations of a note, and there are various proposals to explain intonation in Irtan classical music. | Triadic polyphony in Irta evolved mainly from folk adaptations of Second Remonitionist polyphony, with melodic tendencies as in our timeline's "expressive intonation" resulting in a roughly 12 tone division of the octave. A notable difference is that the piano isn't as prominent -- in contrast, string ensembles and voice are given precedence which makes the classical idea of intonation in Irta much more fluid than in our timeline, with theorists often acknowledging subtle variations of a note, and there are various proposals to explain intonation in Irtan classical music. Intonational variation correlates with: | ||
* scalar and harmonic context, | |||
* mood, and | |||
* region (e.g. western parts of Hyperfrance use wider leading tones and narrower fifths compared to Riphea). | |||
Many composers in Irta regard fixed pitch instruments as inadequate for capturing the nuances of intonation, and these composers mostly write for strings, voice, and trombone. Some developed cross-fingering techniques for woodwinds to better approximate expressive intonation. | Many composers in Irta regard fixed pitch instruments as inadequate for capturing the nuances of intonation, and these composers mostly write for strings, voice, and trombone. Some developed cross-fingering techniques for woodwinds to better approximate expressive intonation. | ||