Music of Hadzanye

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Music is an important part of Hadzanyin culture, playing a central role in the artistic traditions of the nation. As an ethnically diverse nation, the musical traditions of both the Hadzanyese and Tamang peoples have influenced the development of music over the years, and it was not until the rise of the romantic period in the 1800s that the idea of a united Hadzanyin musical style was first mooted. From this united cultural identity, many musical movements were spawned which have continued until the modern day. Hadzanye is most famous for its classical music, with composers such as Velan Chervèta and Chodron Lena remaining popular in the modern day. However, especially since the cultural changes that followed the start of the 20th century, First Imperial War and violence in the 90s, other genres of music have begun to emerge such as Club-Funk and Hadzanyin Indie, as well as pop music and H/T-Pop, genres which aim to revive traditional Hadzanyese and Tamang musical traditions and reinvent them in the modern era.

History

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While historical evidence shows that music was a prominent part of Hadzanyese religious ritual from at least the prehistoric era, mainly in the form of primitive flutes and drums, it was not until the rise of the Kraja civilisation that the first traces of structured music came about. Krajan music used a very basic notation system to illustrate notes and tempo based on proportions of a string and claps, which would eventually be developed into the Chondra system of musical notation. By the time of the Krajan collapse in the first century CE, music was being used for religious and entertainment purposes. The most common instruments were improvised string instruments, including the Bourin, a traditional Hadzanyin instrument close to the Lute.

With the rise of Lâvela in 700 CE, music again gained the patronage of a powerful noble class and consequently developed more. Lâvelan court music developed a more lyrical tradition, with Troubadors developing a style whereby an ensemble of three artists would tell fabulous stories accompanied by bourin and flutes. Similar developments can be seen in the development of traditional Payijan music. It was in 983 CE that the first example of a Cow-Bell ensemble is recorded, marking the start of a notable traditional style of music.

The invasion of the Tamang hordes at the start of the eleventh century had immense impacts upon the development of Hadzanyin music. The invaders brought with them traditional instruments of their own, including the use of a bow which revolutionised string instruments, and the vocal style of throat singing. Due to the relative cultural openness of Kyungba Hang, Hadzanyese musical traditions were not repressed and instead found a place within the royal court. With the Tamang came religious changes, and the rise of Gyalamism with its emphasis on order led Hadzanyese polymaths and philosophers to believe that there must be a definite order to sounds and music. This led to the refinement of the Chondra system to a state that all but mirrored modern musical notation, as well as the creation of several new instruments with this new knowledge. Following the fall of Tamang rule in 1473 and ensuing Hadzanyese renaissance emphasis was placed back upon more traditional Hadzanyese styles of music but the Tamang were able to preserve their own musical patrimony.

Hadzanyin music began to flourish in the classical area, which is usually considered to have started in Hadzanye in 1741 when Nimà Rivypon's Concerto No.1 Op.2 "Èmoda Fena" (Final Departure) was first performed. This piece, the first to involve a conventional, western orchestra, was extremely well received by the upper classes within the Principality of Montayna. It kicked off a flurry of musical activity, with multiple pieces being created. This coincided with the introduction of the Piano, an instrument which was adopted very widely. In 1783, Namgyal Lukhangwa wrote and performed Ètúde No.5 Op.13, which was the first piece to mix classical styles with Tamang and Hadzanyese influences. It is often considered to be the first example of genuinely Hadzanyin music.

In 1817 Fada-Bapsa, the last independent Tamang hangate, was assimilated into Hadzanye via a royal marriage that officially united the two nations. This marked the beginning of Hadzanye in its modern form. The royal family sought to unite the two cultures of the nation. While great stress was placed upon religious ties, it was after a concert of Lukhangwa's music that Prince Sânye Doupalè decided upon using music as a tool to create a new cultural identity. Under his patronage, the Konsèrvatouâre dou Novipou was founded and conductors such as Velan Chervèta began to compose monumental works. Chervèta's most celebrated work, "Symphony No.4 Op.31, "Payi de ma Kà" (Country of my Heart), was written in this style and its musical motifs celebrate the landscapes of the entire nation, with influences from the classical styles of both cultures. The Romantic-Nationalist era, as it is known, continued until the start of the twentieth century and produced many of the most iconic Hadzanyin pieces.

The romantic era is usually held to have finished in Hadzanye in 1903, when Pé Khalma's groundbreaking work Ètúde No.15 Op.42 "Idé Chèrvâdzo" (Wild Idea) was first performed at the Konsèrvatouâre dou Novipou. The piece was inspired by Khalma's own struggles with depression, as well as her involvement with the anti-clericalist and leftist Rènéssansse movement. The piece, which only lasts two minutes, stripped away the ideas of orderly emotion and noble intention that characterised the romantic movement in favour of an exploration of raw emotion and fear. While Khalma was expelled from the Conservatory for the performance due to its political and religious messages, word spread quickly and soon a new musical movement had been spawned. The Rènéssansse artistic movement, which rebelled against religious principles and embraced the chaotic nature of man's existence, quickly rose to popularity, riding widespread popular anger with the monarchical system and corruption within the Gyalamist clergy who were seen to be complicit in abetting the abuses of the time. In response, conservative elements of Hadzanyin society began the Kontre-Rènéssansse, an artistic and societal movement which defended traditional institutions.

With the Primrose August uprising in 1913 and the chaos that surrounded the collapse of the Hadzanyin monarchy musical expression flourished. While institutions such as the Konsèrvatouâre dou Novipou which were heavily affiliated with the Kontre-Rènéssansse maintained their loyalty to traditional styles, the revolutionary government found backing amongst the avant-garde of the La Grandzeta Artistic Caucus. Futurists, the Grandzeta Caucus aimed to completely upturn artistic norms and revolutionise society. Their leader is usually recognised as Djidâ Bènirà, who also led the local revolutionary committee. Bènirà eventually rose to the post of President of the Hadzanyin Social Republic, implementing a program of rigorous ideological constraint upon the arts in Hadzanye. Khalma, originally one of the founding voices of Avante-Garde musical expression in Hadzanye, was imprisoned in 1917 following her criticism of the government. Forced to flee abroad, she lived in NATION until her death in 1948. The Konsèrvatouâre dou Novipou had most of its administration fired, with many conservative members being executed, and was closed in 1929. It would not open again until the fall of the Social Republic at the hands of the Empire of Magarat in 1934. New styles such as Futurist music and Jazz first emerged in this era.

Modern Era

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Music remains extremely important to Hadzanyin culture. The rise of the radio and applications such as !Spotify have allowed for music to enter firmly into the public sphere, with 94% of Hadzanyin's polled in a 2018 poll by Sètrou dou Rètsètche Nachyonale saying that they listened to music in their own time at least once a week. While private musical listening is the most popular way to listen to music, public performances are still extremely popular. The Ministry of Culture has maintained as one of its goals that "culture be available to all people", which had led to monthly performances by the State Symphony Orchestra of

Classical music in modern-day

!Brazilian funk

!french indie

!T/H Pop

Musical Education in Hadzanye

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Key Pieces

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Concerto No.1 Op.2 "Èmoda Fena" (Final Departure), Nimà Rivypon, 1741. Often considered the first piece of Hadzanyin classical music, Rivypon's first concerto depicts the march of the Hadzanyese army into battle at Cholum Pass, during the wars of Hadzanyin unification.

Ètúde No.5 Op.13, Namgyal Lukhangwa, 1783. Inspired by the music of Tamang military bands as well as the developing classical scene, this piece was the first piece that drew inspiration from both Hadzanyese and Tamang traditions and is often considered to be the ancestor of Hadzanyin classical music.

Symphony No.4 Op.31, "Payi de ma Kà" (Country of my Heart), Velan Chervèta, 1821. Possibly the most famous piece of Hadzanyin classical music, Chervèta's fourth symphony was inspired by the steppes of northern and central Hadzanye and the traditions of both the Hadzanyese and Tamang peoples. He received immense royal support from Prince Sânye Doupalè for the work, allowing him to produce other important pieces such as his 1827Symphony No.6 Op. 37, "Travêcha di Pyanna" (Traverse of the Plains) which played upon similar themes.

Symphony No.8 Op.43, "Voyâdzo èntre lè Tamanyè" (Journey among the Tamang), Chodron Lena, 1830. Often considered to be Lena's greatest work, this lengthy symphonic suite was inspired by the composer's service within the Hadzanyin Army in Fada-Bapso following the unification of the country. Its four movements each tell different tales, with the first recounting his journey across the steppes, the second based upon the legend surrounding the life of Kyungba Hang, the third inspired by his love for his wife Mani and the fourth based upon a traditional wedding.

Ètúde No.15 Op.42 "Idé Chèrvâdzo" (Wild Idea), Pé Khalma, 1903. The piece which kicked off the Rènéssansse, Khalma's piece is highly controversial and still rather divisive in Hadzanye. Despite this, the sheer skill and creativity of Khalma's musical skill have granted it high regard. Its deliberately chaotic style critiques the Gyalamist ideals of order, Khalma herself being an atheist, while its theme of despair was inspired by her own depression.

Sonata No.5 Op.50, "La Mouâ" (Death), Sidèm Boulandjire, 1907. Often touted as one of the masterpieces of the Kontre-Rènéssansse, "La Mouâ" was written by the rector of the piano department at the Konsèrvatouâre dou Novipou following the death of his wife. It explores the diffferent stages of grief and celebration of a lost one's life. The similarity of its subject matter to Khalma's "Idé Chèrvâdzo" means that the two are often compared.

Hadzanye

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