Kzmr music: Difference between revisions

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Recitation is almost always unaccompanied, but there are rare cases in which a ''šzþcš'' will self-accompany using a ''[[vbþ]]'', a Kzmr percussion instrument in the [[w:Talking drum|talking drum]] family.

=== Liturgical music ===

The liturgical music of Kzmr is primarily comprised of [[Nrþk'irdu|Nrþk'irduist]] choral repertoire, though there are other forms such as [[Shidamism|Shidamist]] vocal music of the religion's minority in [[Srn]], or the canticular forms of the spoken formulas in Kzmr geomancy. However, Nrþk'irduist music has historically had a significant influence in Kzmr, as [[Kzmr musical notation]] (''hhprk 'rdþsu'', lit. "singing letters") was created by a Nrþk'irduist priest known as [[Phmitrþs]], and has various traits designed with this style of music in mind.

Nrþk'irduist vocal music is heavily based upon [[w:Canon (music)|canon]] and [[w:Heterophony|heterophony]]. It also has a [[w:Polytonality|polytonal]] tendency, with canons at imperfect intervals being very common and many works having no two voices singing in the same scale. To reconcile these two basic facts, there are several methods of scalar mapping typically used in this genre of music, which are as follows:

* Maintaining the distance in terms of scale degrees, at the expense of the acoustic intervals. As such, a leap of an octave (consisting of seven scalar steps) in any [[w:Heptatonic scale|heptatonic scale]] would be realized as a leap of a major ninth in the [[w:Whole-tone scale|whole-tone scale]]. In ''hhprk 'rdþsu'', notes that are to be transposed in this manner are denoted using the [[heavenly stems]].

* Moving by a specific acoustic interval, then rounding to the nearest note in the scale. For this purpose, the quality of the interval is temporarily ignored and the realization is determined solely by the number of the interval. Thus, movement by a minor third or a major third are both subsumed under the generalized notion of movement by a third – however, intervals that can be perfect (i.e. the fourth and fifth) are such under all circumstances. These are denoted by the numbers one through five, representing the intervals from the second to the sixth, in ''hhprk 'rdþsu''. In cases where a movement by a perfect interval would land exactly between two notes of a scale, for example, when moving up a perfect fourth from the tonic in the [[w:Lydian mode|Lydian mode]] – and more rarely, when both realizations of an imperfect interval are invalid and each the same distance from the closest possibility (assuming this possibility is not shared), a 'bias' can be marked, indicating whether one should round to the closer or farther note from the origin.

* Having an underlying [[w:Chromatic scale|chromatic]] line expressed in terms of absolute values, which is then rounded to the scale being used. Like intervalic movement, 'bias' can be marked, this time denoting whether one rounds to the closest higher note or the closest lower note if the chromatic pitch is not part of the scale. Ascending from F to E, these are marked in ''hhprk 'rdþsu'' first with the color names in reverse rainbow order (i.e. from violet to red) with the first two radicals removed, then with the color names in ordinary rainbow order with the first two radicals removed and the remaining radicals struck through.

To maintain the consistency of written parts in canons, individual voices can be treated as [[w:Transposing instrument|transposing instruments]]. Thus, the realizations of {{Kzmr|}}, which ordinarily represents the pitch of F, and the tonic note {{Kzmr|🜚}} are listed at the start of the score, as well as the name of the scale which is used. It is important to note that the concept of scale in this system of music theory partially subsumes that of [[w:Ornament (music)|ornamentation]], with many scales having inherent ornaments applied to certain degrees of the scale. Nonetheless, further ornaments can be added outside of those defined by the scale.

@@ Line 14: / Line 14: @@
 Recitation is almost always unaccompanied, but there are rare cases in which a ''šzþcš'' will self-accompany using a ''[[vbþ]]'', a Kzmr percussion instrument in the [[w:Talking drum|talking drum]] family.
+=== Liturgical music ===
+The liturgical music of Kzmr is primarily comprised of [[Nrþk'irdu|Nrþk'irduist]] choral repertoire, though there are other forms such as [[Shidamism|Shidamist]] vocal music of the religion's minority in [[Srn]], or the canticular forms of the spoken formulas in Kzmr geomancy. However, Nrþk'irduist music has historically had a significant influence in Kzmr, as [[Kzmr musical notation]] (''hhprk 'rdþsu'', lit. "singing letters") was created by a Nrþk'irduist priest known as [[Phmitrþs]], and has various traits designed with this style of music in mind.
+Nrþk'irduist vocal music is heavily based upon [[w:Canon (music)|canon]] and [[w:Heterophony|heterophony]]. It also has a [[w:Polytonality|polytonal]] tendency, with canons at imperfect intervals being very common and many works having no two voices singing in the same scale. To reconcile these two basic facts, there are several methods of scalar mapping typically used in this genre of music, which are as follows:
+* Maintaining the distance in terms of scale degrees, at the expense of the acoustic intervals. As such, a leap of an octave (consisting of seven scalar steps) in any [[w:Heptatonic scale|heptatonic scale]] would be realized as a leap of a major ninth in the [[w:Whole-tone scale|whole-tone scale]]. In ''hhprk 'rdþsu'', notes that are to be transposed in this manner are denoted using the [[heavenly stems]].
+* Moving by a specific acoustic interval, then rounding to the nearest note in the scale. For this purpose, the quality of the interval is temporarily ignored and the realization is determined solely by the number of the interval. Thus, movement by a minor third or a major third are both subsumed under the generalized notion of movement by a third – however, intervals that can be perfect (i.e. the fourth and fifth) are such under all circumstances. These are denoted by the numbers one through five, representing the intervals from the second to the sixth, in ''hhprk 'rdþsu''. In cases where a movement by a perfect interval would land exactly between two notes of a scale, for example, when moving up a perfect fourth from the tonic in the [[w:Lydian mode|Lydian mode]] – and more rarely, when both realizations of an imperfect interval are invalid and each the same distance from the closest possibility (assuming this possibility is not shared), a 'bias' can be marked, indicating whether one should round to the closer or farther note from the origin.
+* Having an underlying [[w:Chromatic scale|chromatic]] line expressed in terms of absolute values, which is then rounded to the scale being used. Like intervalic movement, 'bias' can be marked, this time denoting whether one rounds to the closest higher note or the closest lower note if the chromatic pitch is not part of the scale. Ascending from F to E, these are marked in ''hhprk 'rdþsu'' first with the color names in reverse rainbow order (i.e. from violet to red) with the first two radicals removed, then with the color names in ordinary rainbow order with the first two radicals removed and the remaining radicals struck through.
+To maintain the consistency of written parts in canons, individual voices can be treated as [[w:Transposing instrument|transposing instruments]]. Thus, the realizations of {{Kzmr|}}, which ordinarily represents the pitch of F, and the tonic note {{Kzmr|🜚}} are listed at the start of the score, as well as the name of the scale which is used. It is important to note that the concept of scale in this system of music theory partially subsumes that of [[w:Ornament (music)|ornamentation]], with many scales having inherent ornaments applied to certain degrees of the scale. Nonetheless, further ornaments can be added outside of those defined by the scale.