Thazayin

From CWS Planet
Revision as of 07:18, 22 April 2022 by Severy (talk | contribs)
(diff) ← Older revision | Latest revision (diff) | Newer revision → (diff)
Jump to navigation Jump to search

Thazayin (Adzamasi: Ŧazayin /ˌθazaˈjɪn/) is a Qurosist religion practiced primarily in Tabiqa and other parts of the historic Adzamic Empire. It is polytheistic, recognizing five major deities and an extensive canon of spirits.

In contrast to the rest of Qurosism, the Thazayin religion focuses primarily on the worship of four of the five major deities ("the Four"), although it does recognize Quuros as important as well.

Its most populous modern denominations include Temyarq, the national religion of Tabiqa, and Hemetarq.

Thazayin
Quurozark.png
Qurosism Insignia
AbbreviationTZY
ClassificationThazayin
TheologyPolytheism
World to come
Panentheism
Animism
RegionEkuosia, Lahan
Originc. 1300 BCE
Separated fromQurosism
SeparationsTemyarq, Hemetarq, Bantharq


History

Thazayin was developed by early Adzamic people. By the time of the Adzamic Empire it was the most popular religion among the Adzamians and was spread alongside their empire. It both took on influences from and influenced the religions it interacted with. It into numerous sects throughout the empire and after its collapse.

Hemetarq was a particularly aggressive daughter that developed from Thazayin, which formed partially in response to the encroachment of Iovism into the empire. It was more strictly organized than other sects, and became the official and required religion of the Holy Adzamic Empire at its establishment in 683. Attempts to enforce conversion to Hemetarq are largely credited as a key factor in causing the instability that lead to the ultimate downfall of the Empire.

Practice

Music

An important facet of Thazayin religion and its associated culture is religious music. Music has been used to guide or augment group worship, as well as serving as a means of self-expression of religious devotion for individual performers or songwriters.

In Qurosist music, the number five (which is considered holy for its representation of the five greater gods) is heavily incorporated into music writing. This can come into play in music in the following ways, among others:

  • Number of instruments (typically 5)
  • Number of parts/ voices/ harmonies (typically 5, often correlating to the instruments)
  • Notes per melodic line (multiples of 5)
  • Time signature (beats per measure) (metres of 5)
  • Choice of musical scale and mode (pentatonic)

As Thazayin focuses more strongly on the Four, it incorporates this into its music as well. Instruments, parts, melodic lines, time signatures, and musical scales may be based all on four, or on a mixture of four and five.

Yahalshoq Imbalvah

Yahalshoq Imbalvah ('the learning songs') are a canon of a few hundred short hymns used to learn and memorize passages from the Idelvah. Most members of the public will know a few dozen of the most important of these songs, while religious leaders are expected to be able to recite the entirety of the canon.

There are variations on the songs, but most are fairly simplistic. All are written in a variety of different tetratonic and pentatonic scales (with a few arguable tritonics and even ditonics). Incidentally, the musical scales are often named after the most popular hymn written in them.

Most of the Yahalshoq were collected in the 8th century by the NAME group of Hemetarqi…

Solmization

Thazayin tetranonic (temiiqocaq) music uses an adaptation of the solmization common across all Qurorist music. The note Quu (Quuros) is omitted. The tonic (base note) is Met for Amet (the support of strong earth and fertile soil); then there is Hath for Hathur (the desert), Taa for Taali (the changeable ocean), and finally Kar for Karne (the lightness of the sky).

In pentatonic or greater scales, Thazayin music follows the general practices of Qurosist music.

In popular culture

Although popular secular music in Thazayin communities is more likely to use more complex and more internationally popular trends, it is common for elements of Thazayin music to be used by popular artists. This may include the usage (in part or full) of smaller musical scales, an above-average usage of 5-based tempos, and the inclusion of specific motifs from well-known religious songs.