Re: Musical conlangs (was: Poetique)

En réponse à Ray Brown :


>I've checked my info on SolReSol, which are almost all in French, and find
>that indeed Jean François Sudre did prescribe pauses after each word.  In
>Gajewski's Grammar I read: "Lorseque l'on parle en Solrésol, il faut bien
>soin de s'arrèter un peu après chaque mot; cette petit pause est nécessaire
>pour ne mèler les mots, afin que lla paersonne qui écoute ne s'embrouille
>pas et comprenne facilement."
Hehe, I *do* sometimes know what I'm talking about ;))) .


>Ach y fi! It must have produced a horrid jerky irregular staccato effect.
>John's suggestion seems so obvious to me that I am surprised neither Sudre
>nor other of his fellow Solresolists thought of it.
I don't think the aesthetic value of the language as music was what 
interested them. I doubt SolReSol has ever been "played".


>Yes, so do I. Why Sudre didn't at least go from doh to the doh an octave
>above (like the Mercurians :))  I don't know.  But he didn't: only 'do'
>through to 'si' (i.e. ti in English).  The restricted range, apparently
>equal length notes, and all those pauses must surely have produced the
>most unmusical muslang imaginable,
What do you expect from someone speaking a language with equal-syllable 
length, non phonemic stress, and particularly unimaginative? (the someone, 
not the language ;)) )

Christophe Grandsire.

http://rainbow.conlang.free.fr

You need a straight mind to invent a twisted conlang. 

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