Music in Vittmark

Music in Vittmark is a vital part of Vittmarker culture. Music has a long history in the region, with musical evidence dating back to prehistory. Vittmarker music shares its roots with neighbouring countries in Stoldavia. Throughout history, royal families have been extensive patrons of music. But the most contributing factor to music's role in Vittmarker culture is the use of music in Orkanan ceremonies and rituals, which have formed the social fabric of the nation. At this moment (7690) Vittmark is the world's biggest exporter of music relative to the size of its economy and population.

Traditional music

The musical traditions of Vittmark are rooted in Orkanan beliefs. It is therefore distinctively different compared to Thultannian and mainland Anarian music. There are however large differences between the several regions. The ingenuity of people has led to the development of variations of instruments, adapted especially for the type of music played in a certain region.

Orkanan music

Music plays an important role in Orkanan rituals and ceremonies. This can be in the form as group activities, where the congregations is joining in rhythmic expressions or song. Bu there is also a strong tradition of music performances, by local clergy or traveling musicians. The music originally tells about Orkanan legends and myth, with or without text sung by vocalists. Many vocals are in double or triple harmonies. Typical instruments are the 8-string violin, mandolin, key harp (nyckelharpa) and 6-string fretted viol, as well as hand drums.

Folk music

The bottom-up character of Orkanan music has led to widespread folk music. The main difference between the two is the topics as well as the time and place of performance. Folk music tends to be less complicated and was originally hardly documented, as opposed to the more formal Orkanan music.

The more agricultural and small-scale south of the country has a tradition of folk music with many different instruments and relatively small performing groups. A region like Mellersta Haga has a large vocal tradition, both in the form of traveling singers, as well as large choirs. It is of no surprise that the other end of the country, Östra Haga, knows a similar tradition. Both are sparsely populated with a background in agriculture and fishery, and have been under the same rule since the last four centuries.

Ådalen has a very distinctive musical culture, which is based on mass participation and mass experience. Music from Ådalen is loud, distorted, pompous and rhythmically advanced. Characteristics include the frequent use of the minor key, dissonant harmonies, syncopation and progressions known as riffs. Music is played quite fast (up to 160 bpm) and is making use of multiple violins, cellos, guitars, clarinets, oboes and reeded copperhorns.

The musical tradition of Liden has similar roots, but a completely different execution. Shuffle notes, grooves (4/4 played as 12/8) and double bass drums accompany riffs here. The more industrial background of Liden has resulted in different instrumentation, like guitars, violins and cellos. Bass versions of violins, balalaikas, guitars and mandolins are used as well.

Folk music is a direct basis for modern music styles developed and played in Vittmark, like rock and metal. But even tody there is a vibrant folk music tradition, also with artists and groups blending in folk in pop and rock repertoire.

Choral music

Choral music has its origins in Hagen. Even today, participation in a worldly or Orkanan choir is a popular pass-time for many Vittmarkers. There are some professional choirs operating, recruiting their members from amateur ensembles from around the country. Therefore many choir competitions are being organised, where ensembles and individuals can show their skills to a wider audience, as well as compete for professional contracts.

Imperial music

The so-called classical music of the Imperial Age is still present in Vittmark, but more as a niche manifestation. At the time, imperial music was mainly available at the court or in noble circles, while the common people stuck to Orkanan and folk music. After the empire disintegrated in the early 73rd century, this type of music was being performed mainly in the south of Stoldavia by larger philharmonic orchestras.

Post-imperial music

At the courts of the successor states, similar types of music kept being played by smaller ensembles. This so-called chamber music was played in groups of 4-8 people with different instrumentation, often at a much lower volume and a more minimalistic arrangement than before. As such, post-imperial music reflected the down-scaling of Stoldavian administrations pretty well.

During the mechanisation and industrialisation, a new upper class of industrials and merchants embraced the post-imperial chamber music as an expression of their newly found wealth. Up until then, composers and performers usually had been employed by the aristocracy, which in the Mellanhand Orkanan tradition also meant Orkanan clergy. But industrialists were now also able to employ or hire musicians and ensembles as well. Music was seen as a way to reach out to the people and gain influence through entertainment, a characteristic the new upper class gladly tried to exploit in order to challenge the traditional nobility.

Modern music

It is the combination of decentralised folk music with the upcoming smaller ensembles supported by industrials that modern music could evolve. Industrialists supported innovations by new instruments like tonewheel organs, Hanert organs and saxophones in the 7580's, as well as new technologies like amplification which led to the electric guitar in the 7640's. Electrical amplification made it possible to perform for larger crowds. But amplification also led to a more uniform approach in choice of instruments, where cello's, guitars and keys have become predominant.

The ingenuity of Vittmarker musicians has also led to modern innovations, like the use of synthesised keyboard sounds, the use of pedal effects and sound samples.

Rock, hard rock and heavy metal

Rock music emerged in the late 7640s and early 7650s, developing into a range of different styles from the mid-7660s. The term "rock" refers to the basic approach to music with a steady beat (often 4/4) and verse-chorus structure. But when this simplified music first was presented, opponents of the style labelled it as "rock bottom music" in a negative way.The earliest versions had a simple orchestration with a guitar or keyboard providing the harmonics, a double bass or bass guitar a counter melody and a vocalist delivering the main melody. The fact that Wortsproke is a melodic language has helped in developing the style from existing folk elements.

Further development with a wider instrumentation (lead and rhythm guitar, lead stringed cello and keyboard) led to a variation called "hard rock" in the late 7660's which was played at much higher volumes. The reintroduction of some Orkanan elements ultimately led to the development of "heavy metal" in the early 7670's developing a thick, monumental and bombastic sound characterised by distorted guitars, extended solos, emphatic beats and loudness.

At this moment, bands like Skägget, Kopplingen, Berättelsen, Ondskan and Wäsbyormen are the largest exporting rock bands from Vittmark.

Electronic dance music

A counter movement in popular music occurred in the 7670's as well, with musicians trying to develop a completely opposite approach to the escalation in rock music. They abandoned drum kits and guitars, focusing on modern electronic musical instruments and circuitry-based music technology in its creation. Where the guitar orientated music followed a more vocal tradition in folk music, composers and performers of electronic music explored the possibilities of dance as the participative factor in their music. Many of the compositions are therefore much longer than the usual song format.

Examples of influential electronic acts include Velax, Lorelei Andersson, V.A.V. and Staten 505.

Pop music

Pop music can be defined as all modern music that appeals to a wider audience of all ages. Identifying factors of pop music usually include repeated choruses and hooks, short to medium-length songs written in a basic format (often the verse–chorus structure), and rhythms or tempos that can be easily danced to. Pop music also borrows elements from other styles such as rock, urban, dance, electronic and folk.

Pop music is an important export product for Vittmark, with bands and artists like NÅVA NIVÅ, Systrarna, Lildraken, Gazette, Musen, Sabi Lind and Petter Klaus reaching top positions in sales charts worldwide, resulting in extensive touring abroad. Vittmarker pop music is globally seen as the benchmark for modern, commercial music.

Music culture

Music plays an important role in Vittmarker culture. Most people will go to a live performance at least once a month. A recent survey showed that 22% of the people between 16 and 30 attend a concert on average once a week. Every city has a variety of small bar stages, club stages, music theatres and music halls providing different styles by artists of varying fame almost on a daily basis.

The musical culture sector is mainly operating on a commercial basis, without the government subsidising stages. Instead, the government invests in music education in the regular school system, loan and try-out instruments, networking facilities for upcoming artists, musicians and composers as well as rehearsal facilities. This means that a lot of people will get the opportunity to explore music performance and that it's relatively easy to develop basic skills. However, in order to be able to play in public, performers will have to reach a certain level in order to entertain. Where schools and smaller Orkanan mantalshus provide an entry level platform, only talented and skilled musicians will make it to bars, club stages and larger theatres.

Many music production companies and record labels have apprentice programs within regular vocational and higher education in order to develop talent. Other companies can get a tax deduction if they support talented and innovative musicians and composers to stimulate new developments in music that are ot commercially viable today. Even King Asgard is sponsoring rock, metal, dance and pop soloists and groups. For example, the recent all-girl hit group Galen Jakob was sponsored by the king's scholarship for three years.