Verse:Hmøøh/Prăfin of Bălang: Difference between revisions
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Prăfin was born and raised in the city of Rǎ'ac Thea in Wen Dămea; he was invited to study music in Palkha at 12 | Prăfin was born and raised in the city of Rǎ'ac Thea in Wen Dămea; he was invited to study music in Palkha at 12 by Yăchef rith Sămtsay, a composer who gained notoriety in Talma for ???. Four years later he got a scholarship to go to Bjeheond and study [[Verse:Tricin/Bjeheond/Music|Bjeheondian music]]. | ||
Făb-Bălang disliked modern Talman music for its elitism - and by extension, everything since the Romantic period, since he saw the whole tradition as encouraging elitism. He disapproved of major Talman composers such as Sáengeor, Skéucis, and Djangdae, and theoretical constructs such as regular temperaments. As a reaction to these trends, făb-Bălang became an exponent of the Neoclassical movement in Talma. | Făb-Bălang disliked modern Talman music for its elitism - and by extension, everything since the Romantic period, since he saw the whole tradition as encouraging elitism. He disapproved of major Talman composers such as Sáengeor, Skéucis, and Djangdae, and theoretical constructs such as regular temperaments. As a reaction to these trends, făb-Bălang became an exponent of the Neoclassical movement in Talma. | ||
Revision as of 06:36, 16 July 2018
Prăfin fab-Bălang /pʰrəˈvin fap pəˈʟaŋ/ was a Windermere psychologist, musicologist and composer.
Todo
Life
Prăfin was born and raised in the city of Rǎ'ac Thea in Wen Dămea; he was invited to study music in Palkha at 12 by Yăchef rith Sămtsay, a composer who gained notoriety in Talma for ???. Four years later he got a scholarship to go to Bjeheond and study Bjeheondian music.
Făb-Bălang disliked modern Talman music for its elitism - and by extension, everything since the Romantic period, since he saw the whole tradition as encouraging elitism. He disapproved of major Talman composers such as Sáengeor, Skéucis, and Djangdae, and theoretical constructs such as regular temperaments. As a reaction to these trends, făb-Bălang became an exponent of the Neoclassical movement in Talma.
Musical pieces
Composed in Palkha:
- Doan șăngut Łep (One to Eight) - a postminimalist piece in the Răthamrona tradition, for dulcimer, eight flutes or cellos and eight pātres
- Āku viḍavē Saraṇāva (Ec fi Sarana yăthang, Over the calm Sarana) and Sakhēḷi hā Vaṇē Baḷāng (Rie pădar teał łen, ey Bălang hachüs, Dear Balang, I must leave you) - Palkhan classical pieces, commissioned by the vocalist ___
- The lyrics of Āku viḍavē Saraṇāva were written by the Palkhan poet Ṇajabaḷda, while Sakhēḷi hā Vaṇē Baḷāng was written by lyricist H.V. Sarapaṇaṭṭa, a friend of Yăchef rith Sămtsay.
Sakhēḷi hā Vaṇē Baḷāng, Rasōṇu yāta ṭhēvaṇā! Ho Khēdayā ḷdaṇē cavā Yaḍūn saḷā tarōḷdumā Ṇatēta vāṇnatō vaṭē, Hutēri hā Ḷdurāṇahē, Atē, yaf binsithnga 'mnutłach Itē Pravīṇa-ṇōjavē
Composed in Bjeheond:
- Fi Rănang Dihatuay (The Invisible Wolf) - story and tone poem
- Taab Llhaid Vib Nan (Chnuream Fina, Vi-Na Air) - solo piece for ŋamsóm or double bass, inspired by Shumian vi-na music and Wiebian tsoafta