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| ==Musical cultures== | | ==Musical cultures== |
| Scientific unit for intervals: 1/1728 of an octave
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| ===Eastern Etalocin===
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| "Sophisticated" popular musicians borrow heavily from "classical" idioms such as: long, quasi-operatic song forms; use of traditional classical tunings and harmony (sometimes getting very harmonically complex chords); complex rhythms and time signatures inspired by non-Etalocian music.
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| ====Instruments====
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| *''penicillin'' (Tíogall: ''painicar'') = a wind instrument
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| *''ditoren'' (Tíogall: ''ditor'') = a string instrument
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| (a lot of overlap with Talmic music)
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| *organs played with an isomorphic keyboard
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| ====Tuning systems====
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| Some "modern" classical composers experiment with tuning systems such as high-limit (primes 17 or higher) JI, various EDOs and linear temperaments, especially higher-limit meantone.
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| ===Talma===
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| ====Instruments====
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| *''spúith'' (pl. ''spúithear'') = plucked string instrument with sympathetic strings
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| *''ŋamas'' (pl. ''ŋamsa'') = "Talman violin": a 5-stringed bowed string instrument used for the treble and alto register
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| **Tuning: 2:3:5:7:9, lowest string = ~120Hz
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| *''ŋamsám'' (pl. ''ŋamsáma'') = a ''ŋamas'' that's a 2/1 lower
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| **Tuning: 2:3:4:5:7:9
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| *''tsábhíoch'' (txâbhikh) steel guitar tuned to a hexany
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| *''mifgól'' (pl. ''mifgóla'') = a slide flute
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| *''jóghám'' (pl. ''jógháma'') = a zither
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| *''tuaim'' (pl. ''tuaimear'') = a reed instrument
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| *''fuís'' (pl. ''fuísí'') = a drum
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| *''seomhoidhre'' (pl. ''seomhoidhrí'') = some multi-row autoharp thing controlled by an isomorphic keyboard (pieces are often written for two or more ''seomhoidhrí'' keyboards that are separated by a tuning offset so that the player has access to different octaves)
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| *solo voice or choir
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| Tuning to temperaments is done with reference instruments or monochords
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| Some seomhoidhre and jóghám tunings:
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| *1/1 21/20 8/7 6/5 5/4 21/16 10/7 3/2
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| *1/1 21/20 11/10 8/7 6/5 5/4 21/16 11/8 10/7 3/2 (441/440 tempered out)
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| *hexanic: 1/1 21/20 35/32 8/7 6/5 5/4 21/16 48/35 10/7 3/2
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| *major: 1/1 25/24 7/6 6/5 5/4 7/5 35/24 3/2
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| *minor: 1/1 25/24 15/14 6/5 5/4 9/7 75/56 3/2
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| *augmented: 1/1 15/14 7/6 5/4 9/7 35/24 3/2
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| Various chamber ensembles:
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| *"string trio": 2 ŋ + 1 Ŋ;
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| *"string quartet": 3 ŋ + 1 Ŋ
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| ====Tuning systems====
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| Base pitch: ~120 Hz
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| Classical music:
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| *Older music uses 5, 7 limit JI scales (a variety of them; or free JI?)
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| *Culminates in 11 limit JI and temperaments (mostly as approximations to JI; perhaps also a temperament-temperament like say 22edo).
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| *Scúdhainn defined the concept of linear temperaments and used some rank-2 temperaments for the first time in her musical œuvre. (Matrices were known by then! Also linear temperaments arise naturally from equating similar intervals in constant structures)
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| *Dekanies, eikosanies and other scales that maximize the number of consonant chords per note
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| Folk and popular music prefers "simpler" just scales:
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| *6:7:8:9:10:11:12
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| *5-/7-odd limit diamonds
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| *1 3 5 7 hexany
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| ====Musical forms====
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| *Art song (''foscúghál'') settings of poems, with ''spúith'' or chamber accompaniment ([[Tíogall]]: ''éanril''). Poems may deal with:
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| **Nature, idyllic settings
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| **Love
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| **Mystical themes
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| **A short dialogue
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| *Opera
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| ====Notation====
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| Scale-neutral JI notation:
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| # Notes are written on a staff similar to our staff but the scale is 8:9:10:11:12:13:14:15:16, not the diatonic scale
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| # Accidentals indicate various small intervals
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| # Shift of fundamental: Let (x,t) be a tuple of the form (level on staff, time). When you draw a point (x1, t1) and another point (x2, t2) after that, and connect them with a curved line, then x1 and x2 are "identified" and the fundamental shifts accordingly (from time t2 on).
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| ===Wiebosphere=== | | ===Wiebosphere=== |
| Early theory: enharmonic genera, tetrachordal scales repeating at the 3/2 | | Early theory: enharmonic genera, tetrachordal scales repeating at the 3/2 |