Tanbur As Stringed Music Instrument: Role, Qualities, Influences on Yarsanism
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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Iraq: Opposition to the Government in the Kurdistan Region of Iraq (KRI)
Country Policy and Information Note Iraq: Opposition to the government in the Kurdistan Region of Iraq (KRI) Version 2.0 June 2021 Preface Purpose This note provides country of origin information (COI) and analysis of COI for use by Home Office decision makers handling particular types of protection and human rights claims (as set out in the Introduction section). It is not intended to be an exhaustive survey of a particular subject or theme. It is split into two main sections: (1) analysis and assessment of COI and other evidence; and (2) COI. These are explained in more detail below. Assessment This section analyses the evidence relevant to this note – i.e. the COI section; refugee/human rights laws and policies; and applicable caselaw – by describing this and its inter-relationships, and provides an assessment of, in general, whether one or more of the following applies: • A person is reasonably likely to face a real risk of persecution or serious harm • The general humanitarian situation is so severe as to breach Article 15(b) of European Council Directive 2004/83/EC (the Qualification Directive) / Article 3 of the European Convention on Human Rights as transposed in paragraph 339C and 339CA(iii) of the Immigration Rules • The security situation presents a real risk to a civilian’s life or person such that it would breach Article 15(c) of the Qualification Directive as transposed in paragraph 339C and 339CA(iv) of the Immigration Rules • A person is able to obtain protection from the state (or quasi state bodies) • A person is reasonably able to relocate within a country or territory • A claim is likely to justify granting asylum, humanitarian protection or other form of leave, and • If a claim is refused, it is likely or unlikely to be certifiable as ‘clearly unfounded’ under section 94 of the Nationality, Immigration and Asylum Act 2002. -
Cultural Orientation | Kurmanji
KURMANJI A Kurdish village, Palangan, Kurdistan Flickr / Ninara DLIFLC DEFENSE LANGUAGE INSTITUTE FOREIGN LANGUAGE CENTER 2018 CULTURAL ORIENTATION | KURMANJI TABLE OF CONTENTS Profile Introduction ................................................................................................................... 5 Government .................................................................................................................. 6 Iraqi Kurdistan ......................................................................................................7 Iran .........................................................................................................................8 Syria .......................................................................................................................8 Turkey ....................................................................................................................9 Geography ................................................................................................................... 9 Bodies of Water ...........................................................................................................10 Lake Van .............................................................................................................10 Climate ..........................................................................................................................11 History ...........................................................................................................................11 -
A Musical Instrument of Global Sounding Saadat Abdullayeva Doctor of Arts, Professor
Focusing on Azerbaijan A musical instrument of global sounding Saadat ABDULLAYEVA Doctor of Arts, Professor THE TAR IS PRObabLY THE MOST POPULAR MUSICAL INSTRUMENT AMONG “The trio”, 2005, Zakir Ahmadov, AZERbaIJANIS. ITS SHAPE, WHICH IS DIFFERENT FROM OTHER STRINGED INSTRU- bronze, 40x25x15 cm MENTS, IMMEDIATELY ATTRACTS ATTENTION. The juicy and colorful sounds to the lineup of mughams, and of a coming from the strings of the tar bass string that is used only for per- please the ear and captivate people. forming them. The wide range, lively It is certainly explained by the perfec- sounds, melodiousness, special reg- tion of the construction, specifically isters, the possibility of performing the presence of twisted steel and polyphonic chords, virtuoso passag- copper strings that convey all nuanc- es, lengthy dynamic sound rises and es of popular tunes and especially, attenuations, colorful decorations mughams. This is graphically proved and gradations of shades all allow by the presence on the instrument’s the tar to be used as a solo, accom- neck of five frets that correspondent panying, ensemble and orchestra 46 www.irs-az.com instrument. But nonetheless, the tar sounding board instead of a leather is a recognized instrument of solo sounding board contradict this con- mughams when the performer’s clusion. The double body and the mastery and the technical capa- leather sounding board are typical of bilities of the instrument manifest the geychek which, unlike the tar, has themselves in full. The tar conveys a short neck and a head folded back- the feelings, mood and dreams of a wards. Moreover, a bow is used play person especially vividly and fully dis- this instrument. -
"Tal-Grixti" a Family of Żaqq and Tanbur Musicians
"TAL-GRIXTI" A FAMILY OF ŻAQQ AND TANBUR MUSICIANS Anna Borg Cardona, B.A., L.T.C.L. On his visit to Malta, George Percy Badger (1838) observed that Unative musical instruments", were "getting into disuse" (1). Amongst these was the Maltese bagpipe known as żaqq'. A hundred years later, the żaqq was stil1 in use, but evidently still considered to be waning. By the end of the first half of the twentieth century, the few remaining żaqq musicians were scattered around the isla:nd of Ma1ta in Naxxar, Mosta, Siġġiewi, Dingli, Żurrieq, Birgu (Vittoriosa), Marsa, Mellieħ.a and also on the sister island of Gozo, in Rabat. By the time Partridge and Jeal (2) investigated the situation between 1971 and 1973, they found a total of9living players in Malta and none in Gozo. Now the instrument is no longer played and may be considered virtually extinct. Zaqq players up to the early part of the twentieth century used to perform in the streets and in coffee or wine bars. They would often venture forth to nearby villages, making melodious music to the accompaniment of percussive instruments such as tambourine (tanbur) or fiiction drum (rabbaba, żuvżaJa). It was also not uncommon to witness a group of dancers c10sely followingthe musicians and contorting to their rhythms. This music came to be expected especially a.round Christmas time, Feast days (Festi) and Camival time. The few musicians known as żaqq players tended to pass theit knowledge on from generation to generation, in the same way as other arts, crafts and trades were handed down. -
In Search of a Durable Solution: Examining the Factors Influencing
Research Report C O R P O R A T I O N LOUAY CONSTANT, SHELLY CULBERTSON, JONATHAN S. BLAKE, MARY KATE ADGIE, HARDIKA DAYALANI In Search of a Durable Solution Examining the Factors Influencing Postconflict Refugee Returns RR-A1327-1 In Search of a Durable Solution Cover.indd All Pages 8/17/21 5:51 PM For more information on this publication, visit www.rand.org/t/RRA1327-1. About RAND The RAND Corporation is a research organization that develops solutions to public policy challenges to help make communities throughout the world safer and more secure, healthier and more prosperous. RAND is nonprofit, nonpartisan, and committed to the public interest. To learn more about RAND, visit www.rand.org. Research Integrity Our mission to help improve policy and decisionmaking through research and analysis is enabled through our core values of quality and objectivity and our unwavering commitment to the highest level of integrity and ethical behavior. To help ensure our research and analysis are rigorous, objective, and nonpartisan, we subject our research publications to a robust and exacting quality-assurance process; avoid both the appearance and reality of financial and other conflicts of interest through staff training, project screening, and a policy of mandatory disclosure; and pursue transparency in our research engagements through our commitment to the open publication of our research findings and recommendations, disclosure of the source of funding of published research, and policies to ensure intellectual independence. For more information, visit www.rand.org/about/principles. RAND’s publications do not necessarily reflect the opinions of its research clients and sponsors. -
E-Makâlât ISSN 1309-5803 Mezhep Araştırmaları Dergisi 10, Sy
e-makâlât www.emakalat.com ISSN 1309-5803 Mezhep Araştırmaları Dergisi 10, sy. 2 (Güz 2017): 435-454 Journal of Islamic Sects Research 10, no. 2 (Fall 2017): 435-454 Hakemli Araştırma Makalesi | Peer-reviewed Research Article BİR ETNO-DİNİ İNANIŞ OLARAK İRAN’DAKİ YARSAN İNANCI: TARİHİ, ESASLARI VE BUGÜNKÜ DURUMU Ethno-Religious Beliefs in Iran: History, Principles and Current State of Yarsan Faith İsmail Numan TELCİ* Öz Abstract İran’da kökleri yüzlerce yıl öncesine Yarsan faith is one of the most indigenous dayanan dini gruplardan birisi olan religious groups in Iran that has a long his- Yarsan inanışı günümüzde Tahran tory in the country’s socio-religious lands- rejiminin uyguladığı insan hakları cape. Its believers claim that the Iranian ihlalleri nedeniyle hem bölgesel hem government practices assimilation-driven de uluslararası araştırmacıların dik- policies towards them, but the members of katini çekmektedir. 12 İmam Şiili- Yarsan community have been confronting such policies by clinging to their identity. ğini benimseyen İran yönetiminin As a result of these discriminatory policies, kendilerine yönelik asimilasyon poli- thousands of Yarsan believers have emig- tikası izlediğini iddia eden Yarsan rated to Western Europe for seeking asy- inananları, Tahran rejimine karşı lum and refugee status. In recent years, lo- zaman zaman protesto gösterileri cal, regional and international scholars and düzenlemektedir. Son yıllarda bin- institutions have started to recognize hu- lerce üyesi özellikle Avrupa ülkele- man rights violations towards the Yarsan rine iltica eden Yarsan inanışıyla il- faith by the Iranian regime. Despite the re- gili literatürde kısıtlı bir yazın bu- porting of local and international human lunmaktadır. -
Newsletter Spring 2006 FINAL!.Indd
CENTER FOR IRANIAN STUDIES NEWSLETTER Vol. 18, No. 1 SIPA-Columbia University-New York Spring 2006 ENCYCLOPÆDIA IRANICA GALA BENEFIT FASCICLE 3 OF VOLUME XIII PUBLISHED, DINNER FASCICLE 4 IN PRESS SAN FRANCISCO AY In 2005, the Encyclopædia ing this goal are by no means M 13, 2006 Iranica arrived at an important minimized. Such complexities juncture, one might say a milestone, become the main focus of the final when it reached the entry IRAN. sub-article. It had long been felt that although The Series consists of the fol- the entire Encyclopædia is about lowing entries: i. LANDS OF IRAN Iran, yet we needed a series of articles (a geographical essay), ii. FACTUAL under that general rubric to provide an HISTORY OF IRAN, iii. TRADITIONAL HIS- overview of the main facets of Iranian TORY OF IRAN, iv. IRANIAN MYTHS AND geography, history, and culture. This LEGENDS, v. PEOPLES OF IRAN, vi. IRANIAN series of entries began in Fascicle 2 of LANGUAGES AND SCRIPTS, vii. NON-IRA- Volume XIII, continues through Fas- NIAN LANGUAGES IN IRAN, viii. PERSIAN cicles 3 and 4, and will take most of LITERATURE, ix. RELIGION IN IRAN, x. Fascicle 5 to complete. PERSIAN ART AND ARCHITECTURE, xi. Maryam Rahimian The details of the topics discussed PERSIAN MUSIC, xii. HISTORY OF SCIENCE in these articles will be covered by other IN IRAN, xiii. PERSIA AND THE WEST, xiv. entries throughout the Encyclopædia. IRANIAN IDENTITY. The elegant Ritz Carlton Hotel in Here the purpose has been to present Within many of the above, the San Francisco will be the venue of a a concise general account of what a discussion is further subdivided by Gala Benefit Dinner for the Encyclopæ- student of the Iranian world and its time period—at least into those of pre- dia Iranica on May 13, 2006. -
The History and Characteristics of Traditional Sports in Central Asia : Tajikistan
The History and Characteristics of Traditional Sports in Central Asia : Tajikistan 著者 Ubaidulloev Zubaidullo journal or The bulletin of Faculty of Health and Sport publication title Sciences volume 38 page range 43-58 year 2015-03 URL http://hdl.handle.net/2241/00126173 筑波大学体育系紀要 Bull. Facul. Health & Sci., Univ. of Tsukuba 38 43-58, 2015 43 The History and Characteristics of Traditional Sports in Central Asia: Tajikistan Zubaidullo UBAIDULLOEV * Abstract Tajik people have a rich and old traditions of sports. The traditional sports and games of Tajik people, which from ancient times survived till our modern times, are: archery, jogging, jumping, wrestling, horse race, chavgon (equestrian polo), buzkashi, chess, nard (backgammon), etc. The article begins with an introduction observing the Tajik people, their history, origin and hardships to keep their culture, due to several foreign invasions. The article consists of sections Running, Jumping, Lance Throwing, Archery, Wrestling, Buzkashi, Chavgon, Chess, Nard (Backgammon) and Conclusion. In each section, the author tries to analyze the origin, history and characteristics of each game refering to ancient and old Persian literature. Traditional sports of Tajik people contribute as the symbol and identity of Persian culture at one hand, and at another, as the combination and synthesis of the Persian and Central Asian cultures. Central Asia has a rich history of the traditional sports and games, and significantly contributed to the sports world as the birthplace of many modern sports and games, such as polo, wrestling, chess etc. Unfortunately, this theme has not been yet studied academically and internationally in modern times. Few sources and materials are available in Russian, English and Central Asian languages, including Tajiki. -
Amunowruz-Magazine-No1-Sep2018
AMU NOWRUZ E-MAGAZINE | NO. 1 | SEPTEMBER 2018 27SEP. HAPPY WORLD TOURISM DAY Taste Persia! One of the world's most ancient and important culinary schools belongs to Iran People of the world; Iran! Includes 22 historical sites and a natural one. They 're just one small portion from Iran's historical and natural resources Autumn, one name and a thousand significations About Persia • History [1] Contents AMU NOWRUZ E-MAGAZINE | NO. 1 | SEPTEMBER 2018 27SEP. HAPPY WORLD TOURISM DAY Taste Persia! One of the world's most ancient and important culinary schools belongs to Iran Editorial 06 People of the world; Iran! Includes 22 historical sites and a natural one. They 're just one small portion from Iran's historical and natural resources Autumn, one name and a thousand significations Tourism and the Digital Transformation 08 AMU NOWRUZ E-MAGAZINE NO.1 SEPTEMBER 2018 10 About Persia History 10 A History that Builds Civilization Editorial Department Farshid Karimi, Ramin Nouri, Samira Mohebali UNESCO Heritages Editor In Chief Samira Mohebali 14 People of the world; Iran! Authors Kimia Ajayebi, Katherin Azami, Elnaz Darvishi, Fereshteh Derakhshesh, Elham Fazeli, Parto Hasanizadeh, Maryam Hesaraki, Saba Karkheiran, Art & Culture Arvin Moazenzadeh, Homeira Mohebali, Bashir Momeni, Shirin Najvan 22 Tourism with Ethnic Groups in Iran Editor Shekufe Ranjbar 26 Religions in Iran 28 Farsi; a Language Rooted in History Translation Group Shekufe Ranjbar, Somayeh Shirizadeh 30 Taste Persia! Photographers Hessam Mirrahimi, Saeid Zohari, Reza Nouri, Payam Moein, -
The Poetics of Persian Music
The Poetics of Persian Music: The Intimate Correlation between Prosody and Persian Classical Music by Farzad Amoozegar-Fassie B.A., The University of Toronto, 2008 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2010 © Farzad Amoozegar-Fassie, 2010 Abstract Throughout most historical narratives and descriptions of Persian arts, poetry has had a profound influence on the development and preservation of Persian classical music, in particularly after the emergence of Islam in Iran. A Persian poetic structure consists of two parts: the form (its fundamental rhythmic structure, or prosody) and the content (the message that a poem conveys to its audience, or theme). As the practice of using rhythmic cycles—once prominent in Iran— deteriorated, prosody took its place as the source of rhythmic organization and inspiration. The recognition and reliance on poetry was especially evident amongst Iranian musicians, who by the time of Islamic rule had been banished from the public sphere due to the sinful socio-religious outlook placed on music. As the musicians’ dependency on prosody steadily grew stronger, poetry became the preserver, and, to a great extent, the foundation of Persian music’s oral tradition. While poetry has always been a significant part of any performance of Iranian classical music, little attention has been paid to the vitality of Persian/Arabic prosody as its main rhythmic basis. Poetic prosody is the rhythmic foundation of the Persian repertoire the radif, and as such it makes possible the development, memorization, expansion, and creation of the complex rhythmic and melodic compositions during the art of improvisation. -
The Bandistan Ensemble, Music from Central Asia
Asia Society and CEC Arts Link Present The Bandistan Ensemble, Music From Central Asia Thursday, July 14, 7:00 P.M. Asia Society 725 Park Avenue at 70th Street New York City Bandistan Ensemble Music Leaders: Alibek Kabdurakhmanov, Jakhongir Shukur, Jeremy Thal Kerez Berikova (Kyrgyzstan), viola, kyl-kiyak, komuz, metal and wooden jaw harps Emilbek Ishenbek Uulu (Kyrgyzstan), komuz, kyl-kiyak Alibek Kabdurakhmanov (Uzbekistan), doira, percussion Tokzhan Karatai (Kazakhstan), qyl-qobyz Sanjar Nafikov (Uzbekistan), piano, electric keyboard Aisaana Omorova (Kyrgyzstan), komuz, metal and wooden jaw harps Jakhongir Shukur (Uzbekistan), tanbur Ravshan Tukhtamishev (Uzbekistan), chang, santur Lemara Yakubova (Uzbekistan), violin Askat Zhetigen Uulu (Kyrgyzstan), komuz, metal jaw harp The Bandistan Ensemble is the most recent manifestation of an adventurous two-year project called Playing Together: Sharing Central Asian Musical Heritage, which supports training, artistic exchange, and career enhancement for talented young musicians from Central Asia who are seeking links between their own musical heritage and contemporary languages of art. The ensemble’s creative search is inspired by one of the universal axioms of artistic avant-gardes: that tradition can serve as an invaluable compass for exploring new forms of artistic consciousness and creativity inspired, but not constrained, by the past. Generously supported by the United States Department of State’s Bureau of South and Central Asian Affairs, Playing Together was established and has been