Joined: Jun 04, 2014 Posts: 15603 Location: Freedom
Preferred Pronoun Set: they
somewhere in Music Heaven
Guillaume de Machaut stormed down the halls. "WHAT IS THAT AWFUL RACKET?" he shouted, slamming open Arnold Schoenberg's door and interrupting the latter's composition.
"why, an augmented triad!" Schoenberg grinned. "the sharp fifth fails to resolve, leaving the entire chord feeling unstable and beautifully dissonant, wouldn't you agree?"
"well stop it!" Guillaume lashed back. "I've heard quite enough. stick to real cadences, please."
"that seems unnecessarily harsh," said a voice behind them, and the two turned to see Ludwig von Beethoven's face peering around the doorframe. "resolve it, yes, but can't you just enjoy the dissonance for a while? music is a study in tension and release: you need dissonance for consonance to play on."
"in fact," another voice chimed in, this time belonging to Richard Wagner, "the dissonance is the exciting part! resolution may be a mere formality, but the anticipation of it? that is where the beauty of music lies."
"well, yes," added Joseph Haydn. (it's a big room.) "but surely there are limits? too much dissonance and the ear is overwhelmed, unable to appreciate the beauty of the underlying work. music needs structure or it is nothing."
"does it?" asked Igor Stravinsky. "why shouldn't music be free to express whatever it wants to? what, pray tell, is wrong with atonality?"
"ENOUGH!" thundered a voice from the door, and the collected composers turned, as one, to stare at none other than Johann Sebastian Bach. "tonality is the core of music. tonality defines music. without tonality we are adrift in a sea of sound, lost in waves of unguided noise." John Cage raised a hand to object, but Bach stared him down. "we are composers, keepers of a sacred art. such a tumultuous racket does not become us." some of the others nodded in agreement, and silence fell upon the collected composers.
after a pause, one of the others spoke up. "well," said Alexander Scriabin quietly, "I suppose there is only one way to settle this."
and that, dear players, is where you come in. buried deep beneath the layers of arrangements, compositions, and theoretical constructs lie the heart of music theory, the intervals themselves. how they interact, how they relate, and how they stand each on their own define the very nature of western-influenced sonority. and today, in this game, we will determine once and for all what place the twisted, dissonant augmented intervals hold in that realm.
welcome to Intervals Mafia.
rules
Obey the rules at all times.
As soon as you've died, please stop posting. A 'farewell-post' is fine, but do not reveal or discuss anything once you're dead.
To preserve the integrity of the game, the following will be deemed offenses worthy of punishment (warning or ultimately modkill) - Deleting or editing posts - Posting in white, unreadable or 'invisitext' - Quoting or directly paraphrasing your role PM - Communicating out of thread without explicit permission from me. - Posting during the Night phase.
When voting, or unvoting, please make sure you bold and color your vote so it is easy for me to find. if I don't see it, it won't be counted. and no votes in sblocks.
Questions about your role should be directed to me via PM.
Please give advanced notice if you're going to be away for several days (more than 48 hours).
Once a majority of votes has been reached during the day phase, that player will be considered lynched. Any votes or alterations made after majority has been reached will be ignored. If there is no majority consensus, the one with the most votes at the deadline will be lynched. In case of a tie at this point, the last votes will be removed until there is no longer a tie.
If you have a night action, please make sure to PM me in a timely fashion. If I do not receive your PM, no night action will be taken.
Remember to have fun and be respectful of fellow players. Do not take anything personal! After all, who knows if it's a mafiate ploy to make you anxious and get yourself killed...
this is a non-bastard game. that means everything I tell you, with the standard possible exception of investigative results, is true. it does not mean that I will tell you everything. do not infer things that I haven't actually stated, for your own good. further, note that alignments were assigned to intervals randomly. there is no correlation between dissonance of interval and alignment, so please do not bother attempting to break the game that way, it is not possible. each of the 12 chromatic intervals was used once, either as a consonant major, minor, perfect, or diminished interval, or as a dissonant augmented or, possibly, doubly augmented one. some may argue that some of the diminished, minor, and even major intervals are pretty dissonant themselves, but those people can shut up. the mafia has been provided with the relative consonant interval names.
for the mafia, the win condition of the town in their PMs is exactly this: "you win when there’s no augmented intervals left." not that they're allowed to quote it anyway, but in case someone tries something, know that that information is in the OP and thus not indicative of having seen a town PM first-hand.
please do not post until I've claimed the second post, I'm going to use it for record-keeping.
PS: razorborne is a music theoretician, not a music historian, and as such may have taken some liberties with the views of certain historical figures in order to create the intended narrative. please do not use this post as a source in any later work you do involving these composers.
Since we were told that the flavor would be incoherent I've chosen to completely ignore it. Mostly because it involves words that I don't know what they mean (being musically unlearned). Also because it's a Razor game. I don't really know what that has to do with anything, but I figure he'll forgive me anyways, because he less than three's me as much as PopPa does.
And now, for something different, the only claim I'll make this game: I won't be claiming anything this game at any point, no matter the circumstances.
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