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Verse:Irta/Music: Difference between revisions
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Folk traditions of Riphea are revived as a part of the Nōje Niđjaste movement and a distinctive Riphean style of classical music develops from this. The "Riphean style" was subsequently incorporated into concert music by late 19th century Irtan composers. | Folk traditions of Riphea are revived as a part of the Nōje Niđjaste movement and a distinctive Riphean style of classical music develops from this. The "Riphean style" was subsequently incorporated into concert music by late 19th century Irtan composers. | ||
== | ==Japanese== | ||
idea: "what if maqams were pentatonic" | idea: "what if maqams were pentatonic" | ||
Irta Japanese music consists of various modes and melodic tropes called ''makān'' and ''āwāji''. Japanese ''makān''s are mostly pentatonic where certain notes are played with vibrato by default. For instance ''makān-i-Hirajōshi'' consists of the scale C D Eb G Ab with vibratos on the notes Eb and Ab. In addition there are non-octave ''makān''s like the "pentatonic" scale C D Eb G Ab Bb with vibratos on Eb and Bb. | |||
Irta Japanese "ajnas" are either trichords spanning a perfect fourth or tetrachords spanning a perfect fifth. An exception is ??? which spans a diminished fifth: C E F Gb. | |||
== Arabic == | == Arabic == | ||