Download or read book The Radif of Persian Music written by Bruno Nettl and published by . This book was released on 1987 with total page 290 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Classical Persian Music Radif written by Freydoon Arbabi and published by . This book was released on 2000 with total page 140 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Rhythmic Structure in Iranian Music written by Mohammad Reza Azadehfar and published by Azadehfar. This book was released on 2011 with total page 386 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Classical Persian Music written by Ella Zonis and published by . This book was released on 2013-10-01 with total page 223 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Iranian Classical Music written by Dr Laudan Nooshin and published by Ashgate Publishing, Ltd.. This book was released on 2015-01-28 with total page 257 pages. Available in PDF, EPUB and Kindle. Book excerpt: This book interrogates musicological discourses of creativity from the perspective of critical theory and postcolonial studies, examining their ideological underpinnings and the relationships of alterity which they sustain. The repertoire which forms the book’s main focus is Iranian classical music, a tradition in which the performer plays a central creative role. Addressing a number of central issues regarding the nature of musical creativity, the author explores both the discourses through which ideas about creativity are constructed, exchanged and negotiated within this tradition, and the practices by which new music comes into being.
Download or read book Music and Song in Persia RLE Iran B written by Lloyd Miller and published by Routledge. This book was released on 2012-05-04 with total page 395 pages. Available in PDF, EPUB and Kindle. Book excerpt: This book is the first full-length analysis of the theory and practice of Persian singing, demonstrating the centrality of Persian elements in the music of the Islamic Middle Ages, their relevance to both contemporary and traditional Iranian music and their interaction with classical Persian poetry and metrics.
Download or read book Music of a Thousand Years written by Ann E. Lucas and published by University of California Press. This book was released on 2019-10-22 with total page 286 pages. Available in PDF, EPUB and Kindle. Book excerpt: A free open access ebook is available upon publication. Learn more at www.luminosoa.org. Iran’s particular system of traditional Persian art music has been long treated as the product of an ever-evolving, ancient Persian culture. In Music of a Thousand Years, Ann E. Lucas argues that this music is a modern phenomenon indelibly tied to changing notions of Iran’s national history. Rather than considering a single Persian music history, Lucas demonstrates cultural dissimilarity and discontinuity over time, bringing to light two different notions of music-making in relation to premodern and modern musical norms. An important corrective to the history of Persian music, Music of a Thousand Years is the first work to align understandings of Middle Eastern music history with current understandings of the region’s political history.
Download or read book The Dastgah Concept in Persian Music written by Hormoz Farhat and published by Cambridge University Press. This book was released on 2004-07-08 with total page 220 pages. Available in PDF, EPUB and Kindle. Book excerpt: In this book Hormoz Farhat has unravelled the art of the dastgah by analysing their intervallic structure, melodic patterns, modulations, and improvisations, and by examining the composed pieces which have become a part of the classical repertoire in recent times.
Download or read book Touraj Kiaras and Persian Classical Music An Analytical Perspective written by Owen Wright and published by Routledge. This book was released on 2017-07-05 with total page 148 pages. Available in PDF, EPUB and Kindle. Book excerpt: In this book Owen Wright analyses a single recording of classical Persian music made by Touraj Kiaras, a distinguished singer, accompanied by four noted instrumentalists. The format of the recording is typical of a public concert performance, and thus includes instrumental compositions as well as a central exploration of vocal repertoire and technique. The analysis identifies salient structural features, whether of the individual components or of the whole, in a way accessible to the western reader, but it also takes account of the analytical metalanguage used in Persian scholarship, and includes consideration of the relationship between music and poetry. It is important to note that it is also guided by the perceptions of the performer, whose input and responses to questions have significantly influenced the enterprise. To avoid the dryly impersonal, the analysis is also framed by an introduction which combines a biographical sketch of Touraj Kiaras with a survey of the twentieth-century evolution of Persian classical music and of the position of the vocal repertoire within it, and by an epilogue which examines further the ideological basis of prevalent attitudes to music, and seeks to explore the validity of the analytical enterprise within this context.
Download or read book Iranian Classical Music written by Laudan Nooshin and published by Routledge. This book was released on 2017-03-02 with total page 300 pages. Available in PDF, EPUB and Kindle. Book excerpt: Questions of creativity, and particularly the processes which underlie creative performance or ’improvisation’, form some of the central areas of interest in current musicology. Yet the predominant discourses on which musicological thought in this area are based have rarely been challenged. In this book Laudan Nooshin interrogates musicological discourses of creativity from the perspective of critical theory and postcolonial studies, examining their ideological underpinnings, the relationships of alterity which they sustain, and the profound implications for our understanding of creative processes in music. The repertoire which forms the book’s main focus is Iranian classical music, a tradition in which the performer plays a central creative role. Addressing a number of issues regarding the nature of musical creativity, the author explores both the discourses through which ideas about creativity are constructed, exchanged and negotiated within this tradition, and the practice by which new music comes into being. For the latter she compares a number of performances by musicians playing a range of instruments and spanning a period of more than 30 years, focusing on one particular section of repertoire, dastgāh Segāh, and providing transcriptions of the performances as the basis for analytical exploration of the music’s underlying compositional principles. This book is about understanding musical creativity as a meaningful social practice. It is the first to examine the ways in which ideas about tradition, authenticity, innovation and modernity in Iranian classical music form part of a wider social discourse on creativity, and in particular how they inform debates regarding national and cultural identity.
Download or read book Iranian Classical Music written by Laudan Nooshin and published by Taylor & Francis. This book was released on 2017-03-02 with total page 257 pages. Available in PDF, EPUB and Kindle. Book excerpt: Questions of creativity, and particularly the processes which underlie creative performance or ’improvisation’, form some of the central areas of interest in current musicology. Yet the predominant discourses on which musicological thought in this area are based have rarely been challenged. In this book Laudan Nooshin interrogates musicological discourses of creativity from the perspective of critical theory and postcolonial studies, examining their ideological underpinnings, the relationships of alterity which they sustain, and the profound implications for our understanding of creative processes in music. The repertoire which forms the book’s main focus is Iranian classical music, a tradition in which the performer plays a central creative role. Addressing a number of issues regarding the nature of musical creativity, the author explores both the discourses through which ideas about creativity are constructed, exchanged and negotiated within this tradition, and the practice by which new music comes into being. For the latter she compares a number of performances by musicians playing a range of instruments and spanning a period of more than 30 years, focusing on one particular section of repertoire, dastgāh Segāh, and providing transcriptions of the performances as the basis for analytical exploration of the music’s underlying compositional principles. This book is about understanding musical creativity as a meaningful social practice. It is the first to examine the ways in which ideas about tradition, authenticity, innovation and modernity in Iranian classical music form part of a wider social discourse on creativity, and in particular how they inform debates regarding national and cultural identity.
Download or read book The Radif as Musical Syntax written by Behzad K. Namazi and published by . This book was released on 2020 with total page 259 pages. Available in PDF, EPUB and Kindle. Book excerpt: In this dissertation, entitled The Radīf as Musical Syntax: Instrument Revival in Persian Traditional Music, I investigate the ways in which the radīf (canonic musical repertoire) functions as a system of melodic governance for composition and improvisation. Through ethnographic fieldwork and analytical approaches, I consider how the performance of radīf-based melodies on relegated Persian musical instruments (namely, the barbat and qanun) has facilitated their ongoing process of revival. In dialoguing with my interlocutors and surveying the scholarship, I found that this dissertation has served as the first of its kind, documenting the music performed on the instrument as the driver for its revival. Furthermore, there has been very little scholarship documenting the work of current Persian musicians. Through my dissertation, I hope to help fill this lacuna and contribute to the extant literature in ethnomusicology. Segments of this research have been presented at various national conferences, including the 62nd Annual Meeting of the Society for Ethnomusicology, 12th Biennial Conference of the Association for Iranian Studies, and 63rd Annual Meeting of the Society for Ethnomusicology.
Download or read book The Radif of Persian Music written by Bruno Nettl and published by . This book was released on 1987 with total page 290 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The Evolution of Kurdish Nationalism written by Mohammed M. A. Ahmed and published by . This book was released on 2007 with total page 342 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Modal Modernities written by Mohsen Mohammadi and published by Createspace Independent Publishing Platform. This book was released on 2017-07-29 with total page 372 pages. Available in PDF, EPUB and Kindle. Book excerpt: This dissertation studies the modal system of Persian music. While modern Iranian musicians explain their music as a of seven dastgah plus five sub-dastgah called avaz, the dominant interpretation in the ethnomusicology literature describes the Persian modal system as a set of twelve dastgah. Part I of this dissertation studies how the system of seven dastgah and five avaz was introduced to the ethnomusicology literature and how it was simplified as a set of twelve dastgah. Part I shows that the modal system of Persian music was introduced to the ethnomusicology literature by a generation of Persian musicians who were trained in European music and thus were a hybrid of insider and outsider. Part II studies the historical root of the concept of dastgah. Persian writings on modulation from one mode to another date back to the fourteenth century. This theme was developed into a few collections of modes which were meant to help musicians as modulation instruction. Those collections were developed further and found an order which advised musicians to perform modes in sequences. Modulation instructions were titled "shad" in the seventeenth century. During the late eighteenth and early nineteenth century, the shad was developed further and was renamed dastgah. Part III shows that, while dastgah was an important concept of multi-modal performance, avaz was the general term for Persian modes. Various sources form the nineteenth century and early twentieth century, including musical texts, diaries and travel accounts, old newspapers, early European publications on Persian music, early Persian books on music, and the first catalog of Persian records show that avaz was the general term to refer to Persian modes. Part IV studies the impact of early commercial records on the formation of the Persian modal system. During the first recording session, most labels featured an avaz or a tasnif (song), while seven sets of records were allocated to record the seven dastgah briefly. During the subsequent recording sessions, not only the number of recorded modes decreased, but also more tracks were allocated to the few popular modes. The top ten recorded modes included five avaz that were the central modes of five of the seven dastgah, and five other avaz that became popular through the process of recording. When the seven dastgah were retrieved as an icon of national identity, the five popular avaz retained their modal status but the rest of the avaz were downgraded as pieces of a dastgah only. During the interwar recording sessions, the pattern for coupling tracks on double-sided Persian records was coupling two rhythmic performances in the same mode or two non-rhythmic performances in related modes. Those related modes (avaz) were usually included in a certain dastgah or followed another avaz that was more popular. Each double-sided record became a mode unit, thus, the five popular dastgah were squeezed into one mode while the five popular avaz were extended into smaller dastgah.
Download or read book Iranian Music Education written by Ali BastaniNezhad and published by Cambridge Scholars Publishing. This book was released on 2024-01-05 with total page 175 pages. Available in PDF, EPUB and Kindle. Book excerpt: This book explores Iranian music education history, detailing its beginnings in 1900 up to present practices and challenges contextualised in the wider society and culture. In addition to this historical account, the text offers detailed and well-illustrated discussions of playing various Iranian classical musical instruments, with discussions of key pedagogical parameters of the tone production and performance of Iranian classical instruments. The information provided here will serve to stimulate further research into Iranian music pedagogy and repertoires, the Ney and Iranian instrumental pedagogy in general. This book offers musicians, educators, historians and musicologists a comprehensive investigation of Iranian instrumental music pedagogy, and fills a current gap in the literature on important global musical and music learning traditions
Download or read book Introduction to T r written by Gilad James, PhD and published by Gilad James Mystery School. This book was released on with total page 61 pages. Available in PDF, EPUB and Kindle. Book excerpt: Tár is a plucked string instrument, popularly known as the long-necked lute, traditionally played in Iran, Azerbaijan, and Central Asia. It has a distinctive sound and is played with a small plectrum made of wood or tortoise shell. The body of the tár is traditionally carved from a single piece of wood, and its neck has 25 strings arranged in five groups of five. Four of the five groups are tuned in unison, while the fifth group is tuned in octaves. The tár has historically been used in a variety of musical genres, ranging from classical Persian music to folk and popular music in Azerbaijan. There are several variations of the tár, including the Azerbaijani tár, which has a slightly different shape and tuning than the Persian tár. Similarly, the Central Asian dotar is a two-stringed version of the instrument. The tár has become known worldwide, and it is now played in Western classical concerts and world music concerts. The instrument originated in Central Asia, and it is believed to have been derived from an earlier instrument known as the dombra. The tár has become an integral part of the culture and music of Iran, Azerbaijan, and Central Asia, with many famous musicians having played the instrument over the centuries.
