2018 Technical Rider
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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, -
Women Musicians and Dancers in Post-Revolution Iran
Negotiating a Position: Women Musicians and Dancers in Post-Revolution Iran Parmis Mozafari Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music January 2011 The candidate confIrms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 2011 The University of Leeds Parmis Mozafari Acknowledgment I would like to express my gratitude to ORSAS scholarship committee and the University of Leeds Tetly and Lupton funding committee for offering the financial support that enabled me to do this research. I would also like to thank my supervisors Professor Kevin Dawe and Dr Sita Popat for their constructive suggestions and patience. Abstract This research examines the changes in conditions of music and dance after the 1979 revolution in Iran. My focus is the restrictions imposed on women instrumentalists, dancers and singers and the ways that have confronted them. I study the social, religious, and political factors that cause restrictive attitudes towards female performers. I pay particular attention to changes in some specific musical genres and the attitudes of the government officials towards them in pre and post-revolution Iran. I have tried to demonstrate the emotional and professional effects of post-revolution boundaries on female musicians and dancers. Chapter one of this thesis is a historical overview of the position of female performers in pre-modern and contemporary Iran. -
Anthropological Study of Folk Music in Gilan Province in Iran (Instrumental Music)
International Journal of Social Sciences (IJSS) Vol.3, No.4, 2013 Anthropological Study of Folk Music in Gilan Province in Iran (Instrumental Music) Yaghoub Sharbatian1 Ph.D. Student of Anthropology in Pune University in India and Academic member of Islamic Azad University Garmsar Branch, Semnan, Iran John S. Gaikwad2 Associate Professor, Department of Anthropology, University of Pune, (M.S), India Received 15 February 2013 Revised 18 June 2013 Accepted 23 October 2013 Abstract: Ethno-musicology is an academic field encompassing various approaches to the study of music that emphasize its cultural, social, material, cognitive, biological, and other dimensions or contexts instead of its isolated ‘sound’ component or any particular repertoire. The term ‘Ethno-musicology’ became common in1950, although the emergence of the field can be traced back to the late nineteenth century. Anthropological study of folk music of Gilan province, in Iran with regards to its richness and long history is the subject of this paper. Folk music of Gilan is a part of folklore since it represents the type of thoughts, feelings and behavior of Gilanian People. Nowadays, some Gilani music is on the verge of ‘getting forgotten’ The problem is not only the loss of a kind of music but it is feared that this change will cause another change in thinking and behavior, Therefore, the task is to identify, document and analyze Gilani folk music. In this paper, Informal interview and participant observations comprise the methods of data collection. Functional theory has been used for analysis. Keywords: Anthropology, Ethnomusicology, Iran, Gilan Province, functional theory, instrumental music. Introduction Ethno-musicology is an academic field encompassing various approaches to the study of music that emphasize its cultural, social, material, cognitive, biological, and other dimensions or contexts instead of its isolated ‘sound’ component or any particular repertoire. -
Kpuz Upp Kpu{ Aq Hlac, Q @K , Aupao @ ... Oa Pf Ubqk; L GB U Paoi
Gh{@èíBðþ ø×PúAuçïkoGpèýò ðíBüñlâBóAðXíòAuçìþkAðzXõüBókooAürðþÖpøñãþ külAoGBüàcBÖÌ Ktôûìzùõo@èíBðþ koGroâlAyQ22Gùíò øñpküñþ^ývQ? ð×wìÇíEñú Kýzã×PBoupkGýp koAüòyíBoûìþgõAðýl: º y í B o m o c . r u t l u k n a r i @ o f n i l i a M - û E p kGýp ö u 7 9 1 4 5 1 7 0 4 7 0 3 0 : x a / F u B GhBÆp kAo Aüò ìÏñþÞú ko glìQÞXBâ×Pýî! 0 0 4 5 1 7 0 4 7 0 3 0 : . l e ë T k ô n i l r e B 5 0 2 2 ï 1 yñBuBðlûyõk. 3 r t s e k a r D ô OlAoá øíBü{ øBÿ ìñBuI AÚlAï ðíBüñl OB ìýpAV AoWíñl Aüò GroâBó Gú kouPþ Gú WùBó ìÏB¾p n i l r e B n a r I k i l b u p e R n e h c s koìÏpÖþôKBulAyQAðlüzúøBÿôAæôsoÙAüòÖpqAðãBóôìzBøýpAuçïôAüpAóGBGpðBìúoürÿ - i m a l s I r e d t f a h c s t o B r e d g n u l i e t b a r u t l u K Aìýl AuQÞú ìPõèýBó ÖpøñãþÞzõo ìB ðýr GB AøPíBìþ kogõo Gú Aüò O¿íýî gpkìñlAðú ÿ üõðvßõ Aüò kô ÎBèî ô AküI ìvéíBó ô ðBï@ôo Gú gõAðñlâBó ÎçÚíñl ô ìhBÆHBó ÖpøýhPú OÛlüîÞñýî. yíBoûøBÿ@üñlû ìþÞõyýî OB Gú OñBuI ìÇBèI ô ìÛBæOþ ko ìõok AGÏBk ìhPéØyh¿ýQ ô O×ßp Gú Ghzþ Aq AüpAó Groå ko oôqâBoÞùò ô Gþ yà Aq AoÞBó A¾éþ ô ìùî yÏp KBouþ AuQ. ko øp kô Aq AuPõAðú øBÿ ÎpÖBó ô AkJ Auçìþ ô qGBó ÖBouþ Aðl. -
(EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard -
The "New Woman" on the Stage: the Making of a Gendered Public Sphere in Interwar Iran and Egypt
Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History 11-14-2008 The "New Woman" on the Stage: The Making of a Gendered Public Sphere in Interwar Iran and Egypt Fakhri Haghani Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Part of the History Commons Recommended Citation Haghani, Fakhri, "The "New Woman" on the Stage: The Making of a Gendered Public Sphere in Interwar Iran and Egypt." Dissertation, Georgia State University, 2008. https://scholarworks.gsu.edu/history_diss/19 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THE “NEW WOMAN” ON THE STAGE: THE MAKING OF A GENDERED PUBLIC SPHERE IN INTERWAR IRAN AND EGYPT by FAKHRI HAGHANI Under the Direction of Donald M. Reid ABSTRACT During the interwar period in Iran and Egypt, local and regional manifestation of tajadod/al-jidida (modernity) as a “cultural identity crisis” created the nationalist image and practice of zan-e emrouzi-e shahri/al-mar’a al-jidida al-madani (the urban/secular “New Woman”). The dynamics of the process involved performance art, including the covert medium of journalism and the overt world of the performing arts of music, play, and cinema. The image of the “New Woman” as asl/al-asala (cultural authenticity) connected sonnat/al-sunna (tradition) with the global trends of modernism, linking pre-nineteenth century popular forms of performing arts to new genres, forms, and social experiences of the space of the performing arts. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
Detailed Instrument List & Descriptions
DIRECTORY OF INSTRUMENTS IN GARRITAN WORLD INSTRUMENTS 66 THE WIND INSTRUMENTS ARIA name: Description: Controls: Africa Arghul The Arghul is a reed woodwind instrument that Vel (attack), MW consists of two asymmetrical pipes. One pipe, (vol/eq), Porta, a chanter with between five and seven finger Lgth, VAR1, holes, is dedicated to the melody. The second VAR2, FiltLv, pipe, longer than the first, produces a drone. FiltFq, VibSpd, Arghuls come in different sizes and are played in Vib Amt, AirNs, Egypt and surrounding regions. Fluttr, Auto- • Range: C3- C6 Legato, BndSpd, Keyswitches Mijwiz 1 The Mijwiz is a traditional instrument of Egypt Vel (attack), MW and is one of the oldest wind instruments. Its (vol/eq), Porta, name means “dual” as it consists of two short Lgth, VAR1, bamboo reed pipes tied together. Instead of hav- VAR2, FiltLv, ing a separate reed attached to a mouthpiece, FiltFq, VibSpd, the reed in the Mijwiz is a vibrating tongue Vib Amt, AirNs, made from a slit cut into the wall of the instru- Fluttr, Auto- ment itself. Legato, BndSpd, • Range: C3 - C6 Keyswitches Mijwiz 2 Another Mijwiz instrument with a different Vel (attack), MW range and character. (vol/eq), Porta, • Range: C4 - C6 Lgth, VAR1, VAR2, FiltLv, FiltFq, VibSpd, Vib Amt, AirNs, Fluttr, Auto- Legato, BndSpd, Keyswitches A User’s Guide to Garritan World Instruments THE WIND INSTRUMENTS ARIA name: Description: Controls: China Bawu The Bawu is a side-blown wind instrument Vel (attack), MW found throughout China. Although it re- (vol/eq), Porta, Lgth, sembles a flute, it is actually a reed instrument. -
Persian Perspectives: Chardin, De La Borde, Kaempfer, Rast Musicology Journal, 7(2), S.2050-2083
RAST MUSICOLOGY JOURNAL | Special Issue 2019, 7(2) RAST MUSICOLOGY JOURNAL | Special Issue 2019, 7(2) Original Research Wright, O. (2019), Persian perspectives: Chardin, De la Borde, Kaempfer, Rast Musicology Journal, 7(2), s.2050-2083. Doi:https://doi.org/10.12975/pp2050-2083 Persian perspectives: Chardin, De la Borde, Kaempfer Owen Wright* Corresponding Author: *Music, School of Arts, School of Oriental and African Studies, University of London Thornhaugh Street, London WCIH 0XG, [email protected] Abstract Less well explored than the material supplied by European observers of Ottoman musical practice, that relating to the Safavid realm is nevertheless instructive, both for the glimpses it gives of music as a social activity, especially in Isfahan, of the instruments used, and for what it reveals about the attitudes of the observers. The contributions of two of the most perceptive seventeenth-century European commentators are surveyed here, together with the attempts of an eighteenth-century encyclopaedist to grapple with a Persian theoretical text, reflecting a nascent concern with indigenous theory as Enlightenment thinkers develop an interest in exploring the music of other cultures while at the same time becoming more self-confident in their assumptions of European musical superiority. Keywords persian music, historical musicology, ethnomusicology, orientalism Within the thickening humus of although the Ottoman Empire was still postcolonial re-evaluations of the cultural not, in the nineteenth century, subjugated entanglements between Europe and the and subaltern, increasing recognition, and wider world is a particular layer concerned exploitation, of its military weakness and with the various musical traditions of the the parlous state of its economy meant Middle East. -
Traditional Iranian Music in Irangeles: an Ethnographic Study in Southern California
Traditional Iranian Music in Irangeles: An Ethnographic Study in Southern California Item Type text; Electronic Thesis Authors Yaghoubi, Isra Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 05:58:20 Link to Item http://hdl.handle.net/10150/305864 TRADITIONAL IRANIAN MUSIC IN IRANGELES: AN ETHNOGRAPHIC STUDY IN SOUTHERN CALIFORNIA by Isra Yaghoubi ____________________________ Copyright © Isra Yaghoubi 2013 A Thesis Submitted to the Faculty of the SCHOOL OF MIDDLE EAST AND NORTH AFRICAN STUDIES In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2013 2 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Isra Yaghoubi APPROVAL BY THESIS DIRECTOR This thesis has been approved -
Can You Stop the Birds Singing?”
“Can you stop the birds singing?” THE CENSORSHIP OF MUSIC IN AFGHANISTAN “Can you stop the birds singing?” THE CENSORSHIP OF MUSIC IN AFGHANISTAN by JOHN BAILY FREEMUSE – THE WORLD FORUM ON MUSIC AND CENSORSHIP “CAN YOU STOP THE BIRDS SINGING?” The censorship of music in Afghanistan by JOHN BAILY Published by Freemuse ISSN 1601-2127 Layout: Sigrún Gudbrandsdóttir Cover illustration: M. de Torsiac (1986) Printed in Denmark 2001 by Handy-Print © Freemuse Report no. 01/2001 Freemuse Wilders Plads 8 H · 1403 Copenhagen K. · Denmark tel: +45 32 69 89 20 fax: +45 32 69 89 01 e-mail: [email protected] web: www.freemuse.org TABLE OF CONTENTS PREFACE 5 2.5 Taliban and censorship 34 ABSTRACT 7 2.5.1 Origins and ideology of Taliban 34 INTRODUCTION 9 2.5.2 Edicts concerning music 35 MAP 11 2.5.3 Reports of censorship in English language media 36 2.5.4 Personal testimony from Afghans 38 1. AFGHANISTAN 2.5.5 Taliban justifications for 1.1 History and demography 12 banning music 39 1.2 Music profile 15 2.6 Evading the ban on music 42 1.2.1 Afghan art music 16 1.2.2 Popular radio music 16 3. THE EFFECTS OF 1.2.3 Regional musics 19 CENSORSHIP 1.2.4 Song texts 20 1.3 Religious recitation, 3.1 The role of music in chanting and singing 21 traditional Afghan life 44 3.2 Normality and identity 44 3.3 Therapeutic aspects of music 45 2. MUSIC CENSORSHIP 3.4 The fate of musicians 46 2.1 The Afghan legal system 3.5 Recommendations 47 in the past 23 2.2 The new Republic 23 NOTES 49 2.3 Jihad period 25 BIBLIOGRAPHY 50 2.4 Rabbani period 31 CONTENTS OF CD 51 4 PREFACE Censorship of music has existed ever since the time of ancient Greece. -
Library of Congress Medium of Performance Terms for Music
A clarinet (soprano) albogue anzhad USE clarinet BT double reed instrument USE imzad a-jaeng alghōzā Appalachian dulcimer USE ajaeng USE algōjā UF American dulcimer accordeon alg̲hozah Appalachian mountain dulcimer USE accordion USE algōjā dulcimer, American accordion algōjā dulcimer, Appalachian UF accordeon A pair of end-blown flutes played simultaneously, dulcimer, Kentucky garmon widespread in the Indian subcontinent. dulcimer, lap piano accordion UF alghōzā dulcimer, mountain BT free reed instrument alg̲hozah dulcimer, plucked NT button-key accordion algōzā Kentucky dulcimer lõõtspill bīnõn mountain dulcimer accordion band do nally lap dulcimer An ensemble consisting of two or more accordions, jorhi plucked dulcimer with or without percussion and other instruments. jorī BT plucked string instrument UF accordion orchestra ngoze zither BT instrumental ensemble pāvā Appalachian mountain dulcimer accordion orchestra pāwā USE Appalachian dulcimer USE accordion band satāra arame, viola da acoustic bass guitar BT duct flute USE viola d'arame UF bass guitar, acoustic algōzā arará folk bass guitar USE algōjā A drum constructed by the Arará people of Cuba. BT guitar alpenhorn BT drum acoustic guitar USE alphorn arched-top guitar USE guitar alphorn USE guitar acoustic guitar, electric UF alpenhorn archicembalo USE electric guitar alpine horn USE arcicembalo actor BT natural horn archiluth An actor in a non-singing role who is explicitly alpine horn USE archlute required for the performance of a musical USE alphorn composition that is not in a traditionally dramatic archiphone form. alto (singer) A microtonal electronic organ first built in 1970 in the Netherlands. BT performer USE alto voice adufo alto clarinet BT electronic organ An alto member of the clarinet family that is USE tambourine archlute associated with Western art music and is normally An extended-neck lute with two peg boxes that aenas pitched in E♭.