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{{Windermere sidebar}}
{{Naeng sidebar}}Written by Inthar
'''Bjeheondian music''' is a monophonic tradition based on [[Netagin]] music.
== Tuning ==
Bjeheondian music often appears "microtonal" or "xenharmonic" from our modern Western perspective, though pentatonic-like scales can be used. 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 use melodies based on either scales similar to our pentatonic scale, diatonic-like scales, or 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 set of nine movable pitches plus a choice of which subset 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 the small step of 5L 4s is not used as a step. Different styles encourage different subset use.
'''Tumhanian music''' is a monophonic tradition based on [[Anbirese]]/[[Netagin]] music called the ''hanier'' (Ntg. 'stepping') tradition, which in modern times is based on pentatonic scale subsets of 24 equal divisions of the octave. The premise of the ''hanier'' tradition is "What if Arabic maqam was pentatonic and neutralized 2L3s (the Western pentatonic scale), instead of being heptatonic and neutralizing 5L2s (the diatonic scale)?"
 
== ''Buri''s ==
Some important modern ''hanier'' artists include composers Baqůr Dyhieć and Qypaś Nabak and singer Stow fa Fitsmil. Some modern composers have introduced hanier counterpoint.
The ''buri'' (Ntg. 'sprint') is roughly equivalent to the ''jins'' in Arabic music. However, they usually span a fifth instead of a fourth.
 
* 0 200 400 700 = "Antikurd"
Commonly used tonics/keys are Adb, Edb, Bdb, Fd, C, D, F, and G.
* 0 200 500 700 = "Antinahawand"
 
* 0 300 500 700 = "Antiajam"
== Instruments ==
* 0 200 450 700 = "Rast"
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.
* 0 250 500 700 = "Bayati"
 
* 0 250 450 = "Sikah"
There is a tradition of orally transmitted folk songs (Ntg. ''vyntah qama''; [[Nurian]] ''nūsaļ mamma'', both 'mother's singing'). Composed solo vocal music (Ntg. ''vyntah vyźol''; Nurian ''nūsaļ iġġīehar'' 'exquisite singing'), to the contrary, was traditionally upper class music as opposed to folk music.
* 0 300 400 700 = "Antihijaz"
 
* 0 250 500 600 = "Saba"
== History ==
* 0 100 500 600 = Locrian
Haniers originally consisted of two 4/3-spanning JI pentachords, often described as 1/1 9/8 7/6 21/16 4/3 or permutations thereof.
* 0 150 300 700
 
* 0 150 500 700
Pitched percussion, imported from Naquian music, uses semiquartal[19] tunings have been used in music with pitched percussion, usually tunings close to 33edo or 19edo semiquartal.
* 0 400 600 700
=== Figures ===
* Ŋyplavin: developed a 17 tone system that misses some pezůms, and developed ðavr's
* Mydleśin: proposed various tunings mostly based on dividing string lengths; Mydleśin's scales are split into monochordal and dichordal, depending on whether the pattern has one 9/8 (i.e. meant to be played on one string) or two 9/8's (meant to be played on two strings)
* Hăjaď Săvarkălin: proposed weird pezůms, esp ones that have 10/9's for 9/8's, thus getting closer to the modern quasi-33edo system.


== ''Pezům''s ==
== ''Pezům''s ==
# Standard semiquartal pezůms:
''Pezům'' or ''hanier'' is a word for what roughly corresponds to a pentatonic subset scale of 24edo. Like the word ''maqam'', ''hanier'' may be used both as a synonym for the whole tradition and for types of scales used in the tradition.
## pezům Qykabavin: (sLs)LLsLs(Ls)
* 0 300 500 700 1000 1200 1400
## pezům Lannin: (sLs)LsLsL(Ls)
* 0 250 500 700 950 1200 1400
## pezům Zierokin:  (LsL) (tonic) sLLsL (fifth) (sL)
* 0 200 500 700 900 1200 1400
## pezům Vaśmin: (LsL)sLsLL(sL)
* 0 200 400 700 900 1200 1400
## pezům Ćitupin: ascending (LsL) (tonic) sLLsL (fifth) (sL) and descending (LsL) (tonic) sLsLL (fifth) (sL)
* 0 200 450 700 950 1200 1400
## pezům Qyporin: (sLL) (tonic) sLsLs (tritone)
* 0 250 450 600 850 1100 1300
# Neutralized semiquartal pezuoms, MM = 4\33 3\33 ascending and 3\33 4\33 descending
* 0 300 400 700 900 1200 1400
## pezům Nobbaxin: (sMM)LsMML(Ls)
* 0 100 500 600 1000 1200 1300
## pezům Jokniemin: (MsL)MMsLL(MM)
* 0 150 300 700 850 1200 1400
## pezům Kazrin: (sML)sMMLL(sM)
 
== Harmony in the semiquartal scale==
Semiquartal modal harmony (harmony is referred to with the neologism ''vynqůr'' '(the gestalt result of) difference [referring to different pitches sounded simultaneously]' or with the Eevo word ''eeclind'') is a modern construct. A particular style of it pioneered by the Trician xenharmonic community Brycþéñ lly Frindu Jydylisríz has gained some popularity in the Windermere Commonwealth, and "popular hanier" has begun incorporating it.
Modes of the 9-note scale are called ''hăćemaś'' (sg. ''hăćemeś'', lit. mask). These are distinct from the traditional ''hanier''s.
 
L = C-D, s = C-C# (C-C half-sharp in 24edo)
*''Cimmaqie'': LLsLsLsLs (Chimmaïan)
*''Tavůlie'': LsLLsLsLs (Thavulian)
*''Lannie'': LsLsLLsLs (Lannian)
*''Bonźie'': LsLsLsLLs (Bonzhian)
*''Ćiťůpie'': LsLsLsLsL (Tjitupian)
*''Zierokie'': sLLsLsLsL (Zierokian)
*''Vaśmie'': sLsLLsLsL (Vashmian)
*''Pahnaćie'': sLsLsLLsL (Pahnachian)
*''Qyporie'': sLsLsLsLL (Iporian)
 
Functional harmony is based on using 4L 1s modes and their subsets on functional degrees.
 
== Rhythm ==
Bjeheondian rhythm is based on complex rhythmic cycles known as ''tălea'' in Windermere (from Ntg. ''talea'', from t-l-j "to return, to cycle"), often consisting of more than 10 beats per "measure". (Steal from konnakol)
 
 


[[Category:Music]]
[[Category:Music]]
[[Category:Windermere]]
[[Category:Naeng]]
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