Verse:Hmøøh: Difference between revisions

Line 153:

===Naquosphere===

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early naquians could have started out with JI

after all there are many musical cultures on earth that use weird meters

the difference between naquian music and etalocian music would be that the former cared more about "expressiveness" (kind of like the romantics) than harmony (making their approach to tuning more 'fluid')

hence, peppermint tuning!

that expressiveness could have come from theater

whereas the etalocians value precision/purity of harmony more

which is why the foscúghal tradition emerged much later

(like even the way the instruments are built in etalocin reflect a more structurally microtonal approach)

that might have weird consequences for naquian "mathemusic"

like, naquians may think of the scale in terms of rough 'pitch classes' (formalized by CS)

some things that might arise in the actual music:

1) heavy ornamentation (trills, yodeling, falsetto, vibrato ...)

2) neutral third scales (Bruno Nettl found that infants experimenting with singing tend to use neutral thirds quite a bit)

but no throat singing

choral "polyphony" of a different kind (less focused on pure harmonies and more on "gestures")

and Partch-style corporeality!

folk music of course might use just intonation with instruments that use the overtone series (like the jaw harp and overtone flutes)

the weird side effect is Etalocin doesn't have a "Partch figure"

(because Partchian music is an ancient tradition)

the Xaetjeon people collectively import it to Etalocin

some instruments can start out as simple devices used to imitate natural phenomena (animal calls, wind, thunder ...) in theater

then some clever modern Naquian would find a way to capture those effects on the ŋamsám 😀

let's say the emphasis on neutral thirds leads to a rough division of the octave into 7 parts

and a 27 tone octave (that's another neutral third MOS)

though the closest i can get to 7edo in 27edo is 4 4 4 3 4 4 4

or 4 4 4 4 3 4 4 for a mode with a perfect fifth

that gives me an idea for terminology

each step in 7edo can be likened to a lunar cycle (divided into 4 parts, full moon, waning, new moon and waxing)

there will be overlap between the "full moon" of the first step and the "waxing" part of the last step (since there are 27 and not 28 steps in the naquian octave)

or the step that's subdivided into 3 can be considered "defective"

this "micro"-subdivision is used in two places

1) with instruments of fixed pitch

2) in pedagogic methods so students can get a rough idea as to where the intervals lie

(for students of voice and flexible pitch instruments)

Hjeonvix could give the name '["Naquian tuning"]' to tetracot temperament 😀

or '["Naquian temperament"]' (a misnomer on many levels!)

if éflach means temperament

in fact a 7 step octave would make it possible for a notation a lot like our staff notation to be adopted in the naquosphere! (leaving etalocians with something symbolic like daseian?)

a possible naquian notation

the 27 tone "scale"

(dots signify raising and lowering by discrete quantities, fancier shapes next to the notes are used for other ornaments)

sounds like C Db Ed Fd(trilled with G) G->F#->G kind of

often played as 1/1 21/20 5/4 9/7 3/2->10/7->3/2 on the seomhoidhre

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==Religions, mysticism and philosophy==

@@ Line 153: / Line 153: @@
 ===Naquosphere===
+<!--
+early naquians could have started out with JI
+after all there are many musical cultures on earth that use weird meters
+the difference between naquian music and etalocian music would be that the former cared more about "expressiveness" (kind of like the romantics) than harmony (making their approach to tuning more 'fluid')
+hence, peppermint tuning!
+that expressiveness could have come from theater
+whereas the etalocians value precision/purity of harmony more
+which is why the foscúghal tradition emerged much later
+(like even the way the instruments are built in etalocin reflect a more structurally microtonal approach)
+that might have weird consequences for naquian "mathemusic"
+like, naquians may think of the scale in terms of rough 'pitch classes' (formalized by CS)
+some things that might arise in the actual music:
+) heavy ornamentation (trills, yodeling, falsetto, vibrato ...)
+) neutral third scales (Bruno Nettl found that infants experimenting with singing tend to use neutral thirds quite a bit)
+but no throat singing
+choral "polyphony" of a different kind (less focused on pure harmonies and more on "gestures")
+and Partch-style corporeality!
+folk music of course might use just intonation with instruments that use the overtone series (like the jaw harp and overtone flutes)
+the weird side effect is Etalocin doesn't have a "Partch figure"
+(because Partchian music is an ancient tradition)
+the Xaetjeon people collectively import it to Etalocin
+some instruments can start out as simple devices used to imitate natural phenomena (animal calls, wind, thunder ...) in theater
+then some clever modern Naquian would find a way to capture those effects on the ŋamsám 😀
+let's say the emphasis on neutral thirds leads to a rough division of the octave into 7 parts
+and a 27 tone octave (that's another neutral third MOS)
+though the closest i can get to 7edo in 27edo is 4 4 4 3 4 4 4
+or 4 4 4 4 3 4 4 for a mode with a perfect fifth
+that gives me an idea for terminology
+each step in 7edo can be likened to a lunar cycle (divided into 4 parts, full moon, waning, new moon and waxing)
+there will be overlap between the "full moon" of the first step and the "waxing" part of the last step (since there are 27 and not 28 steps in the naquian octave)
+or the step that's subdivided into 3 can be considered "defective"
+this "micro"-subdivision is used in two places
+) with instruments of fixed pitch
+) in pedagogic methods so students can get a rough idea as to where the intervals lie
+(for students of voice and flexible pitch instruments)
+Hjeonvix could give the name '["Naquian tuning"]' to tetracot temperament 😀
+or '["Naquian temperament"]' (a misnomer on many levels!)
+if éflach means temperament
+in fact a 7 step octave would make it possible for a notation a lot like our staff notation to be adopted in the naquosphere! (leaving etalocians with something symbolic like daseian?)
+a possible naquian notation
+the 27 tone "scale"
+(dots signify raising and lowering by discrete quantities, fancier shapes next to the notes are used for other ornaments)
+sounds like C Db Ed Fd(trilled with G) G->F#->G kind of
+often played as 1/1 21/20 5/4 9/7 3/2->10/7->3/2 on the seomhoidhre
+-->
 ==Religions, mysticism and philosophy==