I saw a wonderful post by @noodledog that was talking about the music of different d&d races, and I wanted to make a post about my own interpretation of what kinds of music the races in the Player’s Handbook would write.
The race of Dwarves is known for its courageous warriors, miners, and skilled craftsmen. They live for centuries, but not as long as elves, and have an unyielding devotion to culture and tradition. Their music is inspired by the ringing of pickaxes and the drums of ancient battles and heroic deeds that have been recounted through the ages through song. Dwarven music is percussion based and built off of layers of rhythm. Craftsmanship is valued in dwarf society, and that applies to their music as well, resulting in respect from all musical communities for their complex understanding of rhythm. When Dwarves sing, they tend towards classic styles of work songs like shanties and mainly sing in unison. Ships will often hire dwarves to lead their shanties because they are masters of consistent rhythm.
Examples: (X, X, X, X, X)
Music is of paramount importance to Elven culture, with a series of ancient ballads and choral pieces chronicling their whole recorded history. With their long lives, composers have been known to spend upwards of seventy years perfecting their symphonies. Intricacy of melody and harmony is considered the height of sophistication, and Elven choirs and orchestras are an exciting event when they pass through towns of other races. Many notable Elven composers produced fugues, a style of music with a melody that interlaces with itself as it develops creating echoes through the score.
Examples: (X, X, X, X, X)
Halflings value the comfort and support of a community, and while they are not listed among the greatest composers or musical artists, even the stuffiest of guests in a halfling community will find themselves stomping along with a drinking song resounding through a tavern or an impromptu jam session around a campfire. Their love of new experiences has led halflings to combine elements from many different musical cultures, and this variability has led them to develop an eclectic style of music that mirrors how bluegrass developed in our world. The most popular halfling songs are jaunty and can be sung or played in large groups easily, but during times of grief even the most stone faced adventurer will shed a tear to the mournful songs of a halfling funeral.
Examples: (X, X, X, X, X)
Humans are known as innovators and as an ambitious creative force. The traditions of the other races are more established, so humans will often train with musicians from other races, but will always bring their own spark to the techniques and pieces they create. Human music is a blending of the different styles that other races bring, and has been widely appreciated by all the races. The songs humans write cover any and all themes imaginable. They sing and play songs about love, war, disasters, adventure, and anything else that sparks their inspiration. Human sailors are prized for their ability to bring emotion into the songs they sing to the crew, helping bind the crew together.
Examples: (X, X, X, X, X)
The strict clan structures of the Dragonborn have specific places for music. Music is the way that the Dragonborn chronicle their clan’s history, and thus it must be protected closely. Individual families in Dragonborn clans are designated lorekeepers and are the only ones allowed to practice traditional music. Songs are passed down through the generations, and the family of lorekeepers is fiercely protected by the rest of the clan. The Chronicle is generally a ballad that outlines the history of the clan and teaches important lessons to the children. When members of other races are allowed into a performance of a Dragonborn Chronicle, the reverence and honor displayed in the music is something they can feel in the air.
Examples: (X, X, X, X, X)
Gnomes and humans share a love of exploration and discovery, and have been known to create new and interesting instruments to experiment with. Their music tends to be instrumental and magically infused (creating a sound similar to the electronic music of today) or performed with an instrument of the gnome’s own making. Seldom will you find a gnome tinkering without music being played in the background either by magic or by a network of clockwork machinery that plays instruments hung from the rafters.
Examples: (X, X, X, X, X)
Half-elves will generally gravitate towards whichever culture they were raised in. (See Humans and Elves)
Orcs and Half-Orcs tend towards music that has a power behind it. Choruses of voices singing about displays of power or accompanying hard work appeal to them. Orc music is loud and forceful, and can be a force of intimidation in battle. Oddly, the music written by the Orcish races has found its way into popularity among certain groups of Humans, Half-Elves, and Tieflings who feel downtrodden.
Examples: (X, X, X, X, X)
Tieflings exist on the fringes of society, and are often shunned or oppressed for their heritage. Their music is reactive and electric, bolstered by their opposition of the society that hates them and tries to sweep them under the rug and their innate ability to amplify and alter the sounds they make with the Thaumaturgy spell. Tiefling concerts are rare, and when they do happen are a spectacle. Clouds of darkness, flames bursting from the stage, and every instrument and voice amplified to near deafening levels.
Examples: (X, X, X, X, X)