Verse:Mwail/Bjeheond/Music: Difference between revisions

Line 58:

Singing, both choral and solo, is as much a part of Wiobian music as instruments since Wiobian isn't a tonal language like Hlou.

~~Classical-era choral Wiobian music is~~ polyphonic and ~~typically uses~~ notes of the ''Zrehnt'' ~~as fundamentals~~. Solo music~~, on the other hand,~~ was very often unwritten and much of it was purely improvised. Solo pieces lacked a ground bass which allowed improvisers the freedom to make highly microtonally inflected melodies, often using a few dozen tones per octave.

Both polyphonic and solo music follow the notes of the ''Zrehnt''. Solo music was very often unwritten and much of it was purely improvised, unlike polyphonic music. Solo pieces lacked a ground bass which allowed improvisers the freedom to make highly microtonally inflected melodies, often using a few dozen tones per octave.

In the Romantic era, formerly improvised pieces were written down, forming a new canon, and simultaneous improvisation was introduced. ''Zrehnt''s no longer had to consist of overtone series scales; people were experimenting with much weirder combinations of notes.

@@ Line 58: / Line 58: @@
 Singing, both choral and solo, is as much a part of Wiobian music as instruments since Wiobian isn't a tonal language like Hlou.
-Classical-era choral Wiobian music is polyphonic and typically uses notes of the ''Zrehnt'' as fundamentals. Solo music, on the other hand, was very often unwritten and much of it was purely improvised. Solo pieces lacked a ground bass which allowed improvisers the freedom to make highly microtonally inflected melodies, often using a few dozen tones per octave.
+Both polyphonic and solo music follow the notes of the ''Zrehnt''. Solo music was very often unwritten and much of it was purely improvised, unlike polyphonic music. Solo pieces lacked a ground bass which allowed improvisers the freedom to make highly microtonally inflected melodies, often using a few dozen tones per octave.
 In the Romantic era, formerly improvised pieces were written down, forming a new canon, and simultaneous improvisation was introduced. ''Zrehnt''s no longer had to consist of overtone series scales; people were experimenting with much weirder combinations of notes.