Verse:Chlouvānem Inquisition: Difference between revisions

Line 929:

Genres similar to our rock music (whose closest Calémerian analogue is probably ''taónensi'' music (''taónensi'' being the Cerian word for “shaker”)) or pop music are less commonly found in the Chlouvānem Inquisition (even if Western artists playing them are known), but there is a regionally developed pop music scene based on the idol group format, a format imported by the Skyrdegan countries (which developed it on the basis of Western ''taónensi''); even the style of these idol groups' music has the same influences from Skyrdegan folk music as Skyrdegan taónensi music. Unlike in most of Western pop and all Skyrdegan idol groups, however, Chlouvānem idol groups have most members play their own instruments on stage apart from only singing.<ref>The terminology for this kind of music is all derived from Cerian through Skyrdagor or just Skyrdagor: ''Taónensi'' is known as ''toúneszy'' in the Skyrdegan countries and it has been adapted into Chlouvānem as ''tūnisus''. An idol is known by the Skyrdagor term ''zraszyk'' (which meant "knight" in older Skyrdagor) and an idol group is a ''zraszkajbe''; the Chlouvānem corresponding terms are the loan ''ṣraseka'' and the half-loan ''ṣraseklāṇa''.</ref><br/>Idol group taónensi pop music's popularity, overall in the Inquisition, pales in comparison to the three main popular genres and many electronic musicians, but they are very popular in the North (the area closest to Greater Skyrdagor and which has had the largest impact from the latter's culture) and often among native Northern Chlouvānem elsewhere in the Inquisition.

While it is more of a subculture than just a genre of music, ''ṣmola'', or Calémerian hip-hop, is pretty popular in the Inquisition despite existing often in a grey area, being tacitly tolerated but largely ignored by the state. Unlike taónensi, in fact, ''ṣmola'' (born for the first time among the lower class in formerly colonial countries in Ceránento with the Nordulaki name of ''kalapka'' ("slap", a slang term from a Northern Fárásenian language) and spread to other countries, often with the calqued Cerian name of ''šumóra'' - whence also the Chlouvānem term) was not brought to the Inquisition through Skyrdegan pop culture but as an artistic and protest form especially by Dabuke and post-Kaiṣamā Kenengyry immigrants, and fully retained its nature of rebellion and protest (meanwhile, Chlouvānem and Skyrdegan taónensi have completely lost that aspect, having been mostly influenced by Western commercial styles of taónensi). Chlouvānem ''ṣmola'' music, while maintaining the multicultural Western roots of the overall subculture, developed some peculiar characteristics with influences not just from Védrenian or Kenengyry orality (often a mix of both, as well as traits of other components of the society of the Inquisition), but also from Classical Chlouvānem poetry; the threat of censorship in the Inquisition has also made necessary to adopt slightly less straightforward lyrics than šumóra of other countries (but still more straightforward than any other kind of anti-system art in the Inquisition), developing a true ''ṣmola'' lexicon made of metaphors, language games, and euphemisms. Some ''ṣmola'' artists, like most notably Ntukašvāvi Baijamukya ''Baitelis'' (who immigrated from the Dabuke countries at the age of 9), have also found critical praise as writers of contemporary Chlouvānem literature.

==Notes==

@@ Line 929: / Line 929: @@
 Genres similar to our rock music (whose closest Calémerian analogue is probably ''taónensi'' music (''taónensi'' being the Cerian word for “shaker”)) or pop music are less commonly found in the Chlouvānem Inquisition (even if Western artists playing them are known), but there is a regionally developed pop music scene based on the idol group format, a format imported by the Skyrdegan countries (which developed it on the basis of Western ''taónensi''); even the style of these idol groups' music has the same influences from Skyrdegan folk music as Skyrdegan taónensi music. Unlike in most of Western pop and all Skyrdegan idol groups, however, Chlouvānem idol groups have most members play their own instruments on stage apart from only singing.<ref>The terminology for this kind of music is all derived from Cerian through Skyrdagor or just Skyrdagor: ''Taónensi'' is known as ''toúneszy'' in the Skyrdegan countries and it has been adapted into Chlouvānem as ''tūnisus''. An idol is known by the Skyrdagor term ''zraszyk'' (which meant "knight" in older Skyrdagor) and an idol group is a ''zraszkajbe''; the Chlouvānem corresponding terms are the loan ''ṣraseka'' and the half-loan ''ṣraseklāṇa''.</ref><br/>Idol group taónensi pop music's popularity, overall in the Inquisition, pales in comparison to the three main popular genres and many electronic musicians, but they are very popular in the North (the area closest to Greater Skyrdagor and which has had the largest impact from the latter's culture) and often among native Northern Chlouvānem elsewhere in the Inquisition.
+While it is more of a subculture than just a genre of music, ''ṣmola'', or Calémerian hip-hop, is pretty popular in the Inquisition despite existing often in a grey area, being tacitly tolerated but largely ignored by the state. Unlike taónensi, in fact, ''ṣmola'' (born for the first time among the lower class in formerly colonial countries in Ceránento with the Nordulaki name of ''kalapka'' ("slap", a slang term from a Northern Fárásenian language) and spread to other countries, often with the calqued Cerian name of ''šumóra'' - whence also the Chlouvānem term) was not brought to the Inquisition through Skyrdegan pop culture but as an artistic and protest form especially by Dabuke and post-Kaiṣamā Kenengyry immigrants, and fully retained its nature of rebellion and protest (meanwhile, Chlouvānem and Skyrdegan taónensi have completely lost that aspect, having been mostly influenced by Western commercial styles of taónensi). Chlouvānem ''ṣmola'' music, while maintaining the multicultural Western roots of the overall subculture, developed some peculiar characteristics with influences not just from Védrenian or Kenengyry orality (often a mix of both, as well as traits of other components of the society of the Inquisition), but also from Classical Chlouvānem poetry; the threat of censorship in the Inquisition has also made necessary to adopt slightly less straightforward lyrics than šumóra of other countries (but still more straightforward than any other kind of anti-system art in the Inquisition), developing a true ''ṣmola'' lexicon made of metaphors, language games, and euphemisms. Some ''ṣmola'' artists, like most notably Ntukašvāvi Baijamukya ''Baitelis'' (who immigrated from the Dabuke countries at the age of 9), have also found critical praise as writers of contemporary Chlouvānem literature.
 ==Notes==