Verse:Mwail/Bjeheond/Music: Difference between revisions

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==Windermere music==

The theoretical basis for Bjeheondian [[Windermere]] music is very similar to that of Hlou Romantic music, except that the terms used are different. The ''Rag'' and ''~~Tal~~'' are known as ''tsăren'' and ''hüed''. But Windermere rhythms (''imhüed'') are much more complex than Hlou ''~~Tal~~''s. ''Imhüed'' are sort of a cross between rhythmic cycles and ground bass lines (as in Baroque era passacaglias).

The theoretical basis for Bjeheondian [[Windermere]] music is very similar to that of Hlou Romantic music, except that the terms used are different. The ''Rag'' and ''Ta'' are known as ''tsăren'' and ''hüed''. But Windermere rhythms (''imhüed'') are much more complex than Hlou ''Ta''s. ''Imhüed'' are sort of a cross between rhythmic cycles and ground bass lines (as in Baroque era passacaglias).

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

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===''Tsoafta''===

Hlou influence on Windermere music in the Wieb region of Bjeheond led to the development of a uniquely Wiebian tradition of purely rhythmic music, called ''tsoafta'' (from Windermere ''tsoaf'' 'game, play' + Hlou ''~~Tal~~''), played almost exclusively on percussion instruments. But violin family instruments were adapted to this style; performers would strike different parts of their instruments with their fingers, and tune the strings so low that they hit against the fingerboard producing a loud percussive effect. The rhythms used were often extremely fast and complicated and polyrhythms were common.

Hlou influence on Windermere music in the Wieb region of Bjeheond led to the development of a uniquely Wiebian tradition of purely rhythmic music, called ''tsoafta'' (from Windermere ''tsoaf'' 'game, play' + Hlou ''Ta''), played almost exclusively on percussion instruments. But violin family instruments were adapted to this style; performers would strike different parts of their instruments with their fingers, and tune the strings so low that they hit against the fingerboard producing a loud percussive effect. The rhythms used were often extremely fast and complicated and polyrhythms were common.

''Tsoafta'' in the Romantic era was thought of primarily as a sport rather than a musical style, and many ''tsoafta'' artists became cultural icons.

@@ Line 92: / Line 92: @@
 ==Windermere music==
-The theoretical basis for Bjeheondian [[Windermere]] music is very similar to that of Hlou Romantic music, except that the terms used are different. The ''Rag'' and ''Tal'' are known as ''tsăren'' and ''hüed''. But Windermere rhythms (''imhüed'') are much more complex than Hlou ''Tal''s. ''Imhüed'' are sort of a cross between rhythmic cycles and ground bass lines (as in Baroque era passacaglias).
+The theoretical basis for Bjeheondian [[Windermere]] music is very similar to that of Hlou Romantic music, except that the terms used are different. The ''Rag'' and ''Ta'' are known as ''tsăren'' and ''hüed''. But Windermere rhythms (''imhüed'') are much more complex than Hlou ''Ta''s. ''Imhüed'' are sort of a cross between rhythmic cycles and ground bass lines (as in Baroque era passacaglias).
 Singing, both choral and solo, is as much a part of Windermere music as instruments since Windermere isn't a tonal language like Hlou.
@@ Line 103: / Line 103: @@
 ===''Tsoafta''===
-Hlou influence on Windermere music in the Wieb region of Bjeheond led to the development of a uniquely Wiebian tradition of purely rhythmic music, called ''tsoafta'' (from Windermere ''tsoaf'' 'game, play' + Hlou ''Tal''), played almost exclusively on percussion instruments. But violin family instruments were adapted to this style; performers would strike different parts of their instruments with their fingers, and tune the strings so low that they hit against the fingerboard producing a loud percussive effect. The rhythms used were often extremely fast and complicated and polyrhythms were common.
+Hlou influence on Windermere music in the Wieb region of Bjeheond led to the development of a uniquely Wiebian tradition of purely rhythmic music, called ''tsoafta'' (from Windermere ''tsoaf'' 'game, play' + Hlou ''Ta''), played almost exclusively on percussion instruments. But violin family instruments were adapted to this style; performers would strike different parts of their instruments with their fingers, and tune the strings so low that they hit against the fingerboard producing a loud percussive effect. The rhythms used were often extremely fast and complicated and polyrhythms were common.
 ''Tsoafta'' in the Romantic era was thought of primarily as a sport rather than a musical style, and many ''tsoafta'' artists became cultural icons.