Farya Faraji: Difference between revisions

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== Inspirations ==

Musical traditions he has based pieces upon include Albanian, Altai, Armenian (ancient, medieval & modern), Azerbaijani, Belarusian, Bulgarian, Celtic (inc. Breton, Gaulish, Ancient Irish, Ancient Welsh), Chinese (ancient, medieval & modern), Croatian (inc. [[Istrian scale]]), Greek ([[Ancient Greek|ancient]], Byzantine & modern), [[Arabic, Turkish, Persian|Iranian]] (ancient, medieval & modern), Jewish (Sephardic), Kurdish, [[Arabic, Turkish, Persian|Levantine Arabic]], Montenegrin, Moroccan, Nogai, Old Norse, Ancient Roman, Romanian, Russian, Serbian, Spanish (Andalusian, flamenco), Turkic, [[Arabic, Turkish, Persian|Turkish]] (inc. Ottoman), Ukrainian and [[Historical temperaments|~~historical~~]] ~~Western European (early medieval, high medieval & renaissance~~).

Musical traditions he has based pieces upon include Albanian, Altai, Armenian (ancient, medieval & modern), Azerbaijani, Belarusian, Bulgarian, Celtic (inc. Breton, Gaulish, Ancient Irish, Ancient Welsh), Chinese (ancient, medieval & modern), Croatian (inc. [[Istrian scale]]), Greek ([[Ancient Greek|ancient]], Byzantine & modern), [[Arabic, Turkish, Persian|Iranian]] (ancient, medieval & modern), Jewish (Sephardic), Kurdish, [[Arabic, Turkish, Persian|Levantine Arabic]], Montenegrin, Moroccan, Nogai, Old Norse, Ancient Roman, Romanian, Russian, Serbian, Spanish (Andalusian, flamenco), Turkic, [[Arabic, Turkish, Persian|Turkish]] (inc. Ottoman), Ukrainian and historical Western European (medieval, renaissance & [[Historical temperaments|early modern]]).

He has also written [[Indian]]-inspired music which is much looser and less close in its inspiration than his other music (i.e. unlike his other music, it’s not specifically based on a specific place or time, like “carnatic music” or anything like that).

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 == Inspirations ==
-Musical traditions he has based pieces upon include Albanian, Altai, Armenian (ancient, medieval & modern), Azerbaijani, Belarusian, Bulgarian, Celtic (inc. Breton, Gaulish, Ancient Irish, Ancient Welsh), Chinese (ancient, medieval & modern), Croatian (inc. [[Istrian scale]]), Greek ([[Ancient Greek|ancient]], Byzantine & modern), [[Arabic, Turkish, Persian|Iranian]] (ancient, medieval & modern), Jewish (Sephardic), Kurdish, [[Arabic, Turkish, Persian|Levantine Arabic]], Montenegrin, Moroccan, Nogai, Old Norse, Ancient Roman, Romanian, Russian, Serbian, Spanish (Andalusian, flamenco), Turkic, [[Arabic, Turkish, Persian|Turkish]] (inc. Ottoman), Ukrainian and [[Historical temperaments|historical]] Western European (early medieval, high medieval & renaissance).
+Musical traditions he has based pieces upon include Albanian, Altai, Armenian (ancient, medieval & modern), Azerbaijani, Belarusian, Bulgarian, Celtic (inc. Breton, Gaulish, Ancient Irish, Ancient Welsh), Chinese (ancient, medieval & modern), Croatian (inc. [[Istrian scale]]), Greek ([[Ancient Greek|ancient]], Byzantine & modern), [[Arabic, Turkish, Persian|Iranian]] (ancient, medieval & modern), Jewish (Sephardic), Kurdish, [[Arabic, Turkish, Persian|Levantine Arabic]], Montenegrin, Moroccan, Nogai, Old Norse, Ancient Roman, Romanian, Russian, Serbian, Spanish (Andalusian, flamenco), Turkic, [[Arabic, Turkish, Persian|Turkish]] (inc. Ottoman), Ukrainian and historical Western European (medieval, renaissance & [[Historical temperaments|early modern]]).
 He has also written [[Indian]]-inspired music which is much looser and less close in its inspiration than his other music (i.e. unlike his other music, it’s not specifically based on a specific place or time, like “carnatic music” or anything like that).