User:2^67-1/Earth10

This page presents a novelty topic. It may contain ideas which are less likely to find practical applications in music, or numbers or structures that are arbitrary or exceedingly small, large, or complex. Novelty topics are often developed by a single person or a small group. As such, this page may also contain idiosyncratic terms, notation, or conceptual frameworks.

Prospective history

In the late 18th century British people gravitated towards equipentatonic scales for their pentatonic melodies, and hence they divided their pentatonic 'step' into two parts to allow for consonant triads. They discovered that the [0 3 6] triad was actually the most consonant in 10edo. Hence, the neopentatonicist style was the original method of 10edo composition when it first existed.

Then the French Revolution happened. France formed an alliance with Britain due to the former realizing the latter have a 10-tone system. Hence France, who decided to turn everything metric, promoted the British 10-note system to the rest of Europe. The British colonies at the time were the first to pick this up, then the rest of continental Europe, starting with the Netherlands.

The equivalent of the Second Viennese School in this universe, the New Pythagoreans, were a group of cultists from America and England who believed that the decimal sequences of irrational numbers held the key to greater understanding of the universe, because of 'music of the spheres' and whatnot. The first New Pythagorean composer was William Shanks who was in love with the sequence 4592307816, as it is the first pandigital sequence in pi, and used it as a tone row in his magnum opus, Symphony in Pi. To this day this sequence of intervals is known as the Shanks row or the Shanks motif.

Then, Arnold Schoenberg (who is American) took up Shanks' idea and, unlike Shanks, used other tone-rows. His students, Scott Mount and Anthony Weaver were also New Pythagorean composers.

Since some composers weren't happy with neopentatonicism, they decided to make their own style informed by Mozart, which was based on the Durmoll scale (what we call Kleeth), and a dicot-based harmonic system. Many neo-Baroque chorales and chorale collections were written using this system.

William Shanks viewed nationalism as a catalyst for war, hence he decided to turn to the universal and mathematical world, hence New Pythagoreanism being almost anti-Romanticist. As a result, France and the greater Slavic world decided to adopt New Pythagoreanism, with Les Six and the Five (or the Mighty Handful) becoming major international proponents.

This attracted many Christian musicians and composers (Scott Mount was one of them). Mount wrote a Mass in 10edo, which was half-dicot-based and half-neopentatonicist, with a few small sections in the New Pythagorean style.

Many African traditions (not sure which ones) developed equipentatonic systems. We take the fact that the French liked 10edo (what they call ‘metric tuning’) so much so that they even promoted it inside their colonies. This initially had more success than expected, due to a common arrangement by [TBD balafon player] who proposed the idea of two parallel balafons covering the entire 10edo gamut. This somehow eventually spread to America during the African slave trade and developed a new type of music (still called jazz), but Earth#10 jazz is more adventurous in the fact that they would regard each note of 10edo as equally important and thus they would regard the chromatic gamut as the scale itself. Equally interesting was the use of the [0 3 6 8] chord in 10edo as the main ‘primary’ chord in Earth#10 jazz music (insert colian 10edo theory here)

Sociopolitical structure of this world

There is a Northwestern European Union consisting of the Netherlands (called Holland in-universe), France, and the United Kingdom. Belgium did not gain independence from the Netherlands.

Music

Introduction and Waltz, a short piece by Thomas Cunning, in the neopentatonicist style