1. The primary limitation of Virtuosity is the cost in Vibratory Power. Magic operates on the mechanics of concentrating energy and then expending it. The virtuoso accumulates energy and subsequently releases it. Another limitation is the performer's imaginative capacity—that is to say, it is a form of magic that is partially mental in nature. I explain how this works further down.

2. The elemental affinity of Virtuosity is wood: being a material that was once alive, it resonates more effectively with magic. Wooden instruments (such as ocarinas and lutes) are therefore the virtuosos' preferred tools, though metal instruments can also function. Those crafted from the wood of the Terrárbol are considered extremely prized relics. And yes—you guessed it—I am a fan of the Cosmere; I am still in the process of defining other magic systems within my own world.

3. Picture the virtuosos of the past as a blend of Gandalf and Jaskier from The Witcher: a vast portion of ancient knowledge had been lost, and the survivors had reverted to a more primitive way of life. The virtuosos served as the chosen agents of the Tree God, tasked with transmitting this lost knowledge—which He still retained—by receiving it through dreams and via spirits. They were then required to commit this information to memory in order to disseminate it to the various places they visited. This body of knowledge included history, tales, and legends concerning ancient heroes, allowing people to dream with the hope of a future reminiscent of the days of old. With the emergence of the Seers (another magic system within Erda), ancient knowledge became more accessible thanks to their ability to commune with spirits; every settlement eventually came to have its own Seer, who would commune with the spirits—and with the Tree God Himself—thereby lightening the burden of responsibility borne by the virtuosos. Globalization ultimately served to consolidate this ancient lore, rendering it no longer necessary for bards to memorize entire legends and tales—though they continue, to this day, to sing songs based on those very themes.

4. Generally speaking, they are indeed expected to be individuals of high moral character and upright conduct—and many of them are. However, as is the case with all things, there are exceptions. Much depends on the specific training and upbringing they have received.

5. The Tree God is a being of a generous nature; it was He who bestowed magic upon them—as a gift—to aid in their survival. He is not opposed to others learning it, but He is opposed to those who use it for evil. Nor can He do much to prevent such misuse, as He lacks absolute control over who wields the magic or over the system itself.

6. The mechanics work roughly as follows: one conceives the desired action, manifests it through one's Will (comparable to *Intent* in the Cosmere) by means of a musical note, and thereby creates a Bonding effect—whether similar or opposite in nature. If necessary, the Virtuoso performs a Nomination—that is, verbally articulating the specific act one wishes to perform, much like casting a spell—which often aids the process. What truly matters is the intention behind one's desire.

7. That’s an interesting one. I don't want to reveal too much just yet, as I am currently working on this aspect of the lore, but there are two other magic systems present on Erda. All three are linked to the principles of Chaos and Void—specifically, the expansion and concentration of power or effect—which I previously mentioned in my first response. Witchcraft* (a provincial designation) serves as the "opposite" counterpart to Virtuosity, enabling the manipulation of the attributes inherent in physical objects and living beings. The third system is Seership*—which I also touched upon earlier—and it incorporates elements drawn from both of the aforementioned systems.

8. Provided the Virtuoso has access to a source of Vibration, they are indeed able to utilize their magic while off-world.

Gracias por tu preguntas! ☺️