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{{wpl|Classical music}}, largely based about piano solos and full orchestras, is characterized by the use of large amounts of string instruments, such as the {{wpl|violin}}, {{wpl|viola}}, and {{wpl|cello}}, employing them in vast, interlaying groups to achieve a sweeping sense, as well as being characterized by the use of choirs in a low {{wpl|baritone}} and {{wpl|bass}} voice as accompaniment to percussion instruments. Classical music was heavily patronized in the era of the Grand Duchy of Verecundia, and throughout the Lapodard-speaking lands, major orchestras became commonplace among the courts of the Lapodard counts and dukes. Such orchestras were often intertwined with a {{wpl|ballard}} style, describing events in the country's history through the use of intense or less intense music depending on the actions at work, though some would employ conventional lyrics for the choirs. Lapodian orchestras in this form would be noted as exceptionally fast paced, to some contemporaries “violent in nature”, with a minority employing such things as rifle fire for use in place of the {{wpl|snare drum}} and even field artillery. Joannes Bisto, a [[Urcea]]n immigrant, would be infamous for his first unveiling of this style to an unwitting audience in 1830. During the [[Second Great War]], formats such as the {{wpl|string quartet}}, {{wpl|symphony}}, and {{wpl|sonata}} would also rise in popularity along front lines of conflict, with amateur soldiers playing for their fellows. Such music would naturally be of peace, home, and women. More modern, conventional arrays for orchestra have risen in popularity since the 1970s, though traditional Lapodian {{wpl|classical music}} continues to be notable worldwide. | {{wpl|Classical music}}, largely based about piano solos and full orchestras, is characterized by the use of large amounts of string instruments, such as the {{wpl|violin}}, {{wpl|viola}}, and {{wpl|cello}}, employing them in vast, interlaying groups to achieve a sweeping sense, as well as being characterized by the use of choirs in a low {{wpl|baritone}} and {{wpl|bass}} voice as accompaniment to percussion instruments. Classical music was heavily patronized in the era of the Grand Duchy of Verecundia, and throughout the Lapodard-speaking lands, major orchestras became commonplace among the courts of the Lapodard counts and dukes. Such orchestras were often intertwined with a {{wpl|ballard}} style, describing events in the country's history through the use of intense or less intense music depending on the actions at work, though some would employ conventional lyrics for the choirs. Lapodian orchestras in this form would be noted as exceptionally fast paced, to some contemporaries “violent in nature”, with a minority employing such things as rifle fire for use in place of the {{wpl|snare drum}} and even field artillery. Joannes Bisto, a [[Urcea]]n immigrant, would be infamous for his first unveiling of this style to an unwitting audience in 1830. During the [[Second Great War]], formats such as the {{wpl|string quartet}}, {{wpl|symphony}}, and {{wpl|sonata}} would also rise in popularity along front lines of conflict, with amateur soldiers playing for their fellows. Such music would naturally be of peace, home, and women. More modern, conventional arrays for orchestra have risen in popularity since the 1970s, though traditional Lapodian {{wpl|classical music}} continues to be notable worldwide. | ||
{{wpl|Folk music}} within Lapody can trace its roots back to the Medieval period. These songs are rarely authentically tied to traditional folk music, being sunny and optimistic in nature. There is a small minority of songs with demonstrated antique vintage, most famously the song ''La fortuna a va e ven'' (The wheel of fortune is forever in motion), whose earliest attestation dates to around the time of the [[Great Plague]] in the 14th century. Notably, many of these earliest songs are shared in common with old songs remembered by the [[Culture_in_Burgundie#Uplanders|Burgoignesc uplanders]], serving as a major piece of evidence for some kind of shared heritage between | {{wpl|Folk music}} within Lapody can trace its roots back to the Medieval period. These songs are rarely authentically tied to traditional folk music, being sunny and optimistic in nature. There is a small minority of songs with demonstrated antique vintage, most famously the song ''La fortuna a va e ven'' (The wheel of fortune is forever in motion), whose earliest attestation dates to around the time of the [[Great Plague]] in the 14th century. Notably, many of these earliest songs are shared in common with old songs remembered by the [[Culture_in_Burgundie#Uplanders|Burgoignesc uplanders]], serving as a major piece of evidence for some kind of shared heritage between Lapods and uplanders. | ||
Besides the few folk songs with provable medieval origins, most songs hold their roots in the 19th century and [[First Fratricide]] periods. These songs are full of language with political activism on both sides of the fence, as well as realistic joy, sadness and passion. Such songs may be in the format of {{wpl|work songs}} with a varied chorus as well as a simple beat, having their roots in the coal and fishing industries. As a result, such songs often focused upon the hard work itself, some positive upon this with pride in that work while others were negative, portraying foremen as slave drivers and businessmen as peddlers of misery. Such songs were, by their nature, extremely inflammatory at the time and still are today, being associated with {{wpl|labor strikes}} and the resulting riots. Democracy-oriented songs, as well as advocates for Catholic themes, also experienced a rise in popularity during the [[Second Great War]] period and as such are tied to it even today. Modern {{wpl|folk music}} often distances itself from politically or historically sensitive topics, instead focusing on either common messages such as loved ones and quiet death or upon romanticizing earlier periods in Lapody's history, such as the periods prior to Marisia. Historical folk songs are, by that nature, rarely sung for public audience. | Besides the few folk songs with provable medieval origins, most songs hold their roots in the 19th century and [[First Fratricide]] periods. These songs are full of language with political activism on both sides of the fence, as well as realistic joy, sadness and passion. Such songs may be in the format of {{wpl|work songs}} with a varied chorus as well as a simple beat, having their roots in the coal and fishing industries. As a result, such songs often focused upon the hard work itself, some positive upon this with pride in that work while others were negative, portraying foremen as slave drivers and businessmen as peddlers of misery. Such songs were, by their nature, extremely inflammatory at the time and still are today, being associated with {{wpl|labor strikes}} and the resulting riots. Democracy-oriented songs, as well as advocates for Catholic themes, also experienced a rise in popularity during the [[Second Great War]] period and as such are tied to it even today. Modern {{wpl|folk music}} often distances itself from politically or historically sensitive topics, instead focusing on either common messages such as loved ones and quiet death or upon romanticizing earlier periods in Lapody's history, such as the periods prior to Marisia. Historical folk songs are, by that nature, rarely sung for public audience. | ||