As a test, I gen'd a 10 year old single-civ dwarf-only world, and embarked with 7 completely unskilled/default peasants. No dfhack changes, just vanilla.
Simulate T•m The dance has reached the point where its accompaniment is at the first theme.
The Bewildering Sister is a social partner dance originating in The Rhythmic Halls. The form guides dancers during improvised performances. The dance is accompanied by The Sheen of Desserts. The dancers perform in a circle turning clockwise. The grotesque dance is punctuated by debauched footwork and the leaps of the lead.
The dance begins with the first theme of the music. The dancers perform slower and slower to the roder rhythm. The partners dance closely, communicating intent by pulling away briefly.
The dance enters a new section with the exposition of the first theme of the music. The dancers perform slower and slower to the biban rhythm. The partners dance closely, communicating intent by pushing together. This debauched section is punctuated by vigorous hand gestures and the straight-lined right kicks of the follower.
The dance enters a new section with the second theme of the music. The dancers perform very quickly to the lakish rhythm. The partners maintain open contact, communicating intent by pulling away briefly. There is a basic movement called the ugog. There is a series of four steps in a figure-eight pattern. This strong section is punctuated by energetic spins.
The dance enters a new section with the exposition of the second theme of the music. The dancers perform to the g•stang rhythm. The partners maintain open contact, communicating intent by pulling away briefly. There is a basic movement called the ish. There is a series of four steps in an intricate pattern. This strong section is punctuated by high body level and vivacious clockwise half turns.
The dance enters a new section with the bridge-passage of the music. The dancers perform very quickly to the tosid rhythm. The partners dance closely, communicating intent by pulling away briefly. This section is punctuated by twisting rightward bends and the spins of the follower.
The dance enters a new section with the synthesis of the music. The dancers perform slower and slower to the thatthil rhythm. The partners dance closely, communicating intent by pushing together. This section is punctuated by raised left arms, high body level and raised right arms.
The dance enters a new section with the finale of the music. The dancers perform slowly to the asdos rhythm. The partners rarely make contact, communicating intent briefly through visual cues. There is a basic movement called the robek. There is a series of two steps in a figure-eight pattern with a high body level from the lead and a debauched forward bend. This section is punctuated by the debauched movement along the line of dance of the follower and clockwise quarter turns.
The Sheen of Desserts is a form of music used for entertainment originating in The Rhythmic Halls. The form guides musicians during improvised performances. The music is played on two t•m, a midor, a g”tom and a egdoth. The musical voices join in melody and counterpoint, harmony and rhythm. The entire performance should stress the rhythm. The melody has phrases of varied length, while the counterpoint has short phrases throughout the form. The music repeats for as long as necessary. It is performed using the anam scale. Throughout, when possible, performers are to alternate tension and repose and play staccato.
The Sheen of Desserts has a well-defined multi-passage structure: a first theme, an exposition of the first theme, a lengthy second theme, an exposition of the second theme, a bridge-passage, a synthesis of previous passages and a finale.
The first theme is voiced by the melody of the midor, the melody of the g”tom and the counterpoint of the t•m. The passage gradually slows as it comes to an end, and it is to be in whispered undertones. Each of the t•m covers its entire range. This passage is richly layered with full chords making use of the available range. The passage is performed in the roder rhythm.
The first exposition is voiced by the melody of the egdoth. The passage is consistently slowing, and it is to be very soft. The egdoth ranges from the strained low register to the rugged high register. This passage features only melodic tones and intervals. The passage is performed in the biban rhythm.
The second theme is voiced by the melody of the g”tom, the melody of the egdoth, the harmony of the t•m and the rhythm of the midor. The passage is very fast, and it is to be loud. The egdoth ranges from the strained low register to the crisp middle register and each of the t•m stays in the rich low register. Chords are packed close together in dense clusters in this passage. The passage is performed in the lakish rhythm. The passage should be performed using arpeggios.
The second exposition is voiced by the melody of the t•m, the melody of the g”tom, the counterpoint of the egdoth and the harmony of the midor. The passage is at a free tempo, and it is to be moderately loud. Each of the t•m covers its entire range and the egdoth ranges from the strained low register to the rugged high register. Chords are packed close together in dense clusters in this passage. The passage is performed in the g•stang rhythm.
The bridge-passage is voiced by the melody of the t•m, the melody of the midor, the rhythm of the g”tom and the rhythm of the egdoth. The passage is extremely fast, and it is to start loud then be immediately soft. Each of the t•m covers its entire range and the egdoth is confined to the strained low register. Only one pitch is ever played at a time in this passage. The passage is performed in the tosid rhythm.
The synthesis is voiced by the melody of the t•m, the melody of the midor, the melody of the g”tom and the melody of the egdoth. The passage is consistently slowing, and it is to be in whispered undertones. Each of the t•m stays in the rich high register and the egdoth ranges from the strained low register to the rugged high register. Only one pitch is ever played at a time in this passage. The passage is performed in the thatthil rhythm.
The finale is voiced by the melody of the g”tom. The passage is at a walking pace, and it is to be in whispered undertones. Only one pitch is ever played at a time in this passage. The passage is performed in the asdos rhythm.
Scales are constructed from fourteen notes dividing the octave. In quartertones, their spacing is roughly 1-x-x-x-xx-x-xxx-x-x-x-xO, where 1 is the tonic, O marks the octave and x marks other notes. The tonic note is fixed only at the time of performance. Preferred notes in the fundamental scale are named. The names are ustos (spoken us, 2nd), em„r (em, 3rd), izeg (iz, 4th), bem•ng (be, 11th), gost (go, 12th) and ”ntak (”nt, 14th).
The anam heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 2nd, the 4th, the 6th, the 9th, the 11th and the 12th.
The roder rhythm is made from two patterns: the thatthil (considered the primary) and the g•stang. The patterns are to be played over the same period of time, concluding together regardless of beat number.
The thatthil rhythm is a single line with two beats. The beat is stressed as follows:
| x - |
where x is a beat, - is silent and | indicates a bar.
The g•stang rhythm is a single line with four beats. The beat is stressed as follows:
| x x - - |
where x is a beat, - is silent and | indicates a bar.
The biban rhythm is made from two patterns: the thoth (considered the primary) and the tosid. The patterns are to be played over the same period of time, concluding together regardless of beat number.
The thoth rhythm is a single line with eight beats divided into two bars in a 4-4 pattern. The beat is stressed as follows:
| - - - x | x - - x |
where x is a beat, - is silent and | indicates a bar.
The tosid rhythm is a single line with four beats. The beats are named feb (spoken fe), berim (be), ibruk (ib) and ermis (erm). The beat is stressed as follows:
| x - - x |
where x is a beat, - is silent and | indicates a bar.
The lakish rhythm is made from three patterns: the libash (considered the primary), the thoth and the tosid. The patterns are to be played over the same period of time, concluding together regardless of beat number.
The libash rhythm is a single line with thirty-two beats divided into six bars in a 7-6-5-5-2-7 pattern. The beat is stressed as follows:
| x - - - - x - | x x x - x x | x - x x x | x x`x - x | x`- | - x x - x x x`|
where ` marks a beat as early, x is a beat, - is silent and | indicates a bar.
The asdos rhythm is made from two patterns: the tosid (considered the primary) and the g•stang.
One group as a 5 wide line dance, the other two together, nearby. All simulating the various instruments. On date Granite 22.
The last time I looked into this, I do recall the size of the dance area did have some bearing. In the test I just did 5 minutes ago (and all my normal tavern testing) I make the largest area possible (33x33?) immediately on the surface, resulting in a 31x31 dance area. (no trees)
Again, I don't know for certain, but it's possible they simply don't have a large enough area?