User:2^67-1/Musical Styles in the Early Nineteenth Yearhundred
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This page describes the musical styles in the early Nineteenth Yearhundred (c.a. 1800-1850) in a fictional Continental Europe where 10edo became the dominat tuning today.
History
The French Revolution caused the decimalization of all things scientific. We see the remnants of this in the SI units today. However, in an alternate universe, they managed to successfully decimalize time (which was unsuccessful in this universe) and music (which was unattempted in this universe). By 1789, it was the period of early Beethoven, late Mozart, and middle-late Haydn. Their scores were burnt to ashes as 10-tone equal temperament (10edo) became the dominant tuning of the European continent, phasing out 12edo in the process.
Overview
Not many 12edo instruments can play 10edo. Hence some instruments had to be abandoned, and the only instruments which could play 10edo with relative ease were the violin family and the trombone family.
Since there was a new tuning to be learned, the usual harmony and counterpoint pedagogy of the previous yearhundred was irrelevant. Hence new 'music theories' were developed.
The French, in an attempt to make nationalistic music, decided to use the fact that France was alternatively titled L'Hexagone and so they used a hexatonic scale, 4L 2s (known in-universe as the French scale).
The German-speaking lands decided to retain their classicalist style of thinking, and so they settled on a 3L 4s-based framework (known in-universe as the German scale).
The British wanted to make the classicalist style coexist with their folk music, and so they created the neopentatonicist style. This uses neutral triads below a mostly-5edo melody. In stricter neopentatonicist-style music the bass is also required to only use the notes of 5edo.
Music
Introduction and Waltz, a short piece by Thomas Cunning, in the neopentatonicist style