UniLang

This log is about communicating by the means of music.
The constructed language Solresol is a major part of it.
However, the log isn't limited to it, for two reasons.

- There is more than one musical language. Another example would be Pirahã (which is a natural one even).

- Music (which is being considered a language on its own by some/many) of course also can be used in some cases as a replacement for spoken words.

Within this log's scope:
- Solresol, Pirahã and other languages with the same musical features.

- Anything about the connection between music and (other) languages.

- Anything about using music as a replacement for spoken words in some situations.

Outside of this log's scope:
- Vocal music. Any Lyrics Related Subjects could be covered elsewhere anyway, as long as it would be possible to do so. But this isn't the topic of this log, nor I intend to "outsource" anything to any other log.

- Anything controversial. While we have our POVs that sometimes differ, this log still isn't meant for any POV discussions that aren't directly and entirely language related. For this very reason, I excluded vocal music, because too many lyrics out there would be rather controversial even if quoted for linguistical purposes only.

So for this log's purpose, I really prefer focusing on what we have in common. That's why I also wouldn't intend to mention anything about melodies that only a subset of the population would listen to, because of some cultural/... differences.

- Anything that could be close to off-topic in the General Languages Forum, like some purely musical matters without the slightest language connection.

A short introduction to Solresol:

- It is a 19th century constructed language.

- It can be written, drawn, or played on an instrument.

- There are a some additional possibilities too. One of them isn't entirely distant from ISL (International Sign Language), although there are major differences, too.

- Vocabulary isn't that easy, because several different words are written in a similar way. The available syllables are very limited .

- However, Solresol still has some unique characteristics not found in "your everyday conlang".

Bird songs

Simply L-O-V-I-N-G them!!!

Polyphonic.

Monophonic.

Surprisingly.

Or meeting the expectations.

Anybody of you tried to imitate some bird sounds?

Counterpoint melodies

A counterpoint melody is something that happens at the same time as the other/main melody.

It isn't supporting it, but "opposing" it instead. Like two persons talking about two different subjects at the same time.

However, it still can be used as a means of support. If that happens, it is a synergy effect.

Counterpoint example fig. 1 (0:36)

https://www.youtube.com/watch?v=zY2zcjLZGsc

The Stickerbush Symphony belongs to the "genre" of Video Game Background Music. No matter if you ever played Donkey Kong Country 2 or not (this log isn't about games anyway), this song's melodic message still may be of interest to some of you. As for me, personally, it does trigger some feelings.

Still pondering on how this song differs from many others from that Donkey Kong Country trilogy. If anybody has got some ideas, well, this log isn't meant to be a pure monologue. And yes, I already discussed that "Language Logs Are Sometimes Similar To A Virtual Museum Exhibition With A Don't Touch Me Sign" topic with Axon colega . But still. I, for one, am open to the idea of others participating, too, whenever they have got something interesting to say.

Original version: https://www.youtube.com/watch?v=73n7HTcmb5g

8 bit remix: https://youtu.be/1cLvDizZCAw

That Eight Bit Retro Mix shows the song's original context as well in an animated way. I.e. it is a "real video" with motion and stuff .

Synthesizer remix: https://www.youtube.com/watch?v=ydB8VFCBy_o

[sequelmagazine . org/10018//your-gaming-playlist-stickerbrush-symphony-bramble-blast-donkey-kong-country-2super-smash-bros-brawl/] wrote:This song has a lot going for it, it’s definitely the most intensely orchestrated piece I have covered so far, which is what I find truly mesmerizing by it. The song doesn’t necessarily take you on a journey, or tell a story. It merely is just an experience of such well balanced and blended sounds that create something unlike anything I had ever heard before, which is a good goal for all video game music. Make it seem like its part of the world you’re in by even more so making the sounds different and intricate. And though this is a remix of the song, the same can be said about the original version of the song that sounds 1000% different from what was just described. But its still worth a listen either way.

The author is referring to another remix, not those two above.

[David Wise, as cited by www . gonintendo . com/stories/200244-david-wise-explains-how-dkc2-s-stickerbush-symphony-almost-never] wrote:"This piece almost never made the game. It was originally composed as a follow up to Aquatic Ambience, however, there was no water level in DKC-2. Fortunately, it was used for the Brambles. It seemed to fit and was a good juxtaposition to the difficulty in negotiating through such a hard stage of the game.

I'm not really sure as to why it's a fan favourite, but I'm very pleased it still is. Perhaps because the level was so difficult, players had to listen through the music so many times?" - David Wise