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Need your help guys.

Working on a conlang of my own. Got most of the written portion done, but
having trouble translating the characters into the normal western Unicode
map. I need to know if there is a way to modify it or create my own Unicode
map. Would also need to be able to put in conditions where if two kinds of
glyphs are next to each other that it will automatically change to a
different character on the map without manually entering it. Best examples
I can think of is in English, if you type 1st, in most fonts the "st"
automatically becomes superscript and underlined. Or in Japanese, if a word
is typed in Katakana or Hiragana but there is a Kanji equivalent that is
used, it will change it to the Kanji character. So help please.

Thanks in advance.

Phil


On November 29, 2015 12:00:26 AM CONLANG automatic digest system
<[log in to unmask]> wrote:

> There are 4 messages totaling 164 lines in this issue.
>
> Topics of the day:
>
>   1. Phonetic/Phonotactic/Word inventory of a musical conlang (2)
>   2. Dex and Daina (2)
>
> ----------------------------------------------------------------------
>
> Date:    Sat, 28 Nov 2015 06:31:43 -0500
> From:    Patrik Austin <[log in to unmask]>
> Subject: Re: Phonetic/Phonotactic/Word inventory of a musical conlang
>
> Hi Jon,
>
> Sure you can create enough words with 24 tones + other musical means such
> as rhythm, length and ornamentation. Solresol uses only 7 tones and works
> out fine.
>
> How to make it sound musical is indeed a question of music theory. As for
> Solresol, the word formation is as good as random selection. On the other
> hand setting it into a key, e.g. C Major will make it sound relatively
> musical already.
>
> Does 24 tones equal two octaves on the chromatic scale?
>
> Talking of modes, the Dorian mode would be a nice choice, because it's
> intermediate between Major and Minor. In any case you'd have to use one key
> or another to make it sound musical, even if it allows using blue notes or
> an occasional bit of modulation.
>
> In fact I think two or more friends with no formal knowledge of music
> theory could set up their own musical language any time, using songs they
> know. They can start it as a game of charades, only a musical version. For
> instance, for the sentence "Where's my coat?", first you hum or whistle a
> little bit of "Oh Where Oh Where Has My Little Dog Gone?" until they guess,
> it's "where" you're looking for. Then you take Slade's My Oh My for "my"
> and Dolly Parton's Coat of Many Colours" for "coat". If you need it, there
> are too many songs for "is", but alternatively you can do Black Eyed Peas'
> "Where Is the Love?" for "where is".
>
> Once you've done this for a while you start using certain songs for certain
> words, and you can make the bits shorter - like leaving out (I believe in
> woman) in My Oh My.
>
> Note that what you get at the end with this method is a musical language
> where all words are musical shapes with rhythm and melody. Obviously you
> can do the exact same thing with your own melody bits which will be more
> elegant but much more difficult to remember and probably not as much fun to
> learn.
>
> Anyway, you can whistle this sample sentence to yourself to hear what it's
> going to sound like roughly, whether you use your own songs or borrowed ones:
>
> https://youtu.be/WpYeekQkAdc?t=1m20s for "where is the"
> https://youtu.be/XE-6gNR0iMQ?t=26s for "my oh my"
> https://youtu.be/c1zJzr-kWsI?t=1m9s for "coat of many"
>
> These short melody bits should make up the sentence "where is my coat?".
> These recordings are in different keys, but when people do it without using
> instruments, they'll be using a random root note for all songs with
> disregard to the key in the original recording.
>
> ------------------------------
>
> Date:    Sat, 28 Nov 2015 12:27:08 +0000
> From:    And Rosta <[log in to unmask]>
> Subject: Re: Phonetic/Phonotactic/Word inventory of a musical conlang
>
> On 26 Nov 2015 13:14, "Jon Michael Swift" <[log in to unmask]>
> wrote:
>>
>> So you can see, the issue is not that there aren't enough phonemic
>> possibilities; It's that there must be unusually complex limitations in
>> phonotactics and grammar to make it sound "musical." If you use modal and
>> tonal parameters to delineate the grammar of a discourse, you also set a
>> lot of limitations needed to make it sound musical. Nevertheless, I'm not
>> privy to the kind of calculations you might do to calculate the potential
>> word inventory of the language. Maybe it's an unnecessary calculation, but
>> I'm trying to figure out if I've set up a system that's big enough that it
>> can A) produce plenty of singable words B) Suffer enough limitations to
>> assign discrete meaning to various notes/pitch functions until it sounds
>> "pretty."
>>
>> Thoughts anyone?
>
> My advice would be to put aside phonological analysis and phonemes at
> first, and instead establish an inventory of contrastive musical units
> (that is, units that preserve musicality when combined). The inventory
> needn't be closed, and the units needn't be atomic. This is in large part
> is what Moss did, I think.
>
> Next, regard the size of the inventory. Depending on its size, you can
> consider each unit to correspond to a word, or to a phrase, or to a
> sublexical phoneme-like unit. If each unit corresponds to a phrase, then
> you'd have to do a compositional analysis of the units and assign meaning
> to the phonological components, as if like a polysynthetic morphological
> analysis.
>
> In summary, don't start by counting notes and so forth, start with defining
> the combinatorially unconstrained units ('musemes'?). Equipped with those
> units you can then proceed both to assign forms to your lexical entries,
> whereupon you have an expressible language, and to essay an analysis of
> musemes that is phonological or 'phonetic' (in the sense of expression
> substance rather than anthropophonics), which would be required as part of
> a full description of the language.
>
> If anything I've said is too abstract and hard to grasp, I will try to
> reexplain.
>
> --And.
>
> ------------------------------
>
> Date:    Sat, 28 Nov 2015 22:21:52 -0500
> From:    Herman Miller <[log in to unmask]>
> Subject: Re: Dex and Daina
>
> Herman Miller wrote:
>
>> 2. Nuv zin ķa vŏz ("Bring Me To Life" by Evanescence)
>> Avanna has a pretty decent pronunciation of Jarda, but her voice is a
>> little soft for a song like this. Ruby's voice sounds too nasal in this
>> song. Daina is just right for it.
>
> I think this song sounds much better with Daina's voice, so I redid the
> whole song with her and Dex.
>
> https://www.prismnet.com/~hmiller/mp3/veoz.mp3
>
> ------------------------------
>
> Date:    Sat, 28 Nov 2015 22:30:09 -0500
> From:    Daniel Bowman <[log in to unmask]>
> Subject: Re: Dex and Daina
>
> Herman:
>
> Really excellent, and so exciting to hear this song in translated into a
> conlang.  Your production skills have greatly improved as well!
>
> Danny
>
> 2015-11-28 22:21 GMT-05:00 Herman Miller <[log in to unmask]>:
>
>> Herman Miller wrote:
>>
>> 2. Nuv zin ķa vŏz ("Bring Me To Life" by Evanescence)
>>> Avanna has a pretty decent pronunciation of Jarda, but her voice is a
>>> little soft for a song like this. Ruby's voice sounds too nasal in this
>>> song. Daina is just right for it.
>>>
>>
>> I think this song sounds much better with Daina's voice, so I redid the
>> whole song with her and Dex.
>>
>> https://www.prismnet.com/~hmiller/mp3/veoz.mp3
>>
>
> ------------------------------
>
> End of CONLANG Digest - 27 Nov 2015 to 28 Nov 2015 (#2015-317)
> **************************************************************