خواننده نام ترانه No. Singer Title شیطون بال عباس قادری 3494 Abbas
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Friday 21 Lifestyle | Feature Friday, September 18, 2020
Friday 21 Lifestyle | Feature Friday, September 18, 2020 (From left) Oud player Noushin Yousefzadeh, kasser drummer (From left) Kasser drummer Negin Heydari, pippeh drummer Noushin Yousefzadeh, a member of the all-women Iranian Negin Heydari, pippeh drummer Malihe Shahinzadeh, and drum- Malihe Shahinzadeh, and drummer Faezeh Mohseni practice music band “Dingo” who plays the Oud (Middle Eastern lute), mer Faezeh Mohseni practise together at a home studio called together at a home studio called the “Dingo room”. poses for a picture as she practises at a home studio called the the “Dingo room”. “Dingo room”. Noushin Yousefzadeh, oud player of the Iranian all-women Noushin Yousefzadeh, a member of the all-women Iranian Women audience members applaud as they attend a perform- music band “Dingo” performs with other band members at a music band “Dingo” who plays the oud (Middle Eastern lute), ance by the Iranian all-women music band “Dingo”. concert. poses for a picture as she practises at a home studio called the “Dingo room”. cording to Sahar Taati, a former director at the music depart- with the dohol and pippeh. So now, whenever authorities arrange ment of Iran’s Ministry of Culture and Islamic Guidance, festivals and shows like this one in their home town, they apply known as Ershad. and hope they will be selected, even if it means not knowing until Nonetheless, most clerics believe that the sound of female the last minute if they have been. singing is “haram”-or forbidden-because it can be sensuously But, the exhilaration of playing for mixed audiences is worth all stimulating for men and lead to depravity, she added. -
Googoosh and Diasporic Nostalgia for the Pahlavi Modern
Popular Music (2017) Volume 36/2. © Cambridge University Press 2017, pp. 157–177 doi:10.1017/S0261143017000113 Iran’s daughter and mother Iran: Googoosh and diasporic nostalgia for the Pahlavi modern FARZANEH HEMMASI University of Toronto Faculty of Music, 80 Queen's Park, Toronto, Ontario, M5S 2C5, Canada E-mail: [email protected] Abstract This article examines Googoosh, the reigning diva of Persian popular music, through an evaluation of diasporic Iranian discourse and artistic productions linking the vocalist to a feminized nation, its ‘victimisation’ in the revolution, and an attendant ‘nostalgia for the modern’ (Özyürek 2006) of pre-revolutionary Iran. Following analyses of diasporic media that project national drama and desire onto her persona, I then demonstrate how, since her departure from Iran in 2000, Googoosh has embraced her national metaphorization and produced new works that build on historical tropes link- ing nation, the erotic, and motherhood while capitalising on the nostalgia that surrounds her. A well-preserved blonde in her late fifties wearing a silvery-blue, décolletage-revealing dress looks deeply into the camera lens. A synthesised string section swells in the back- ground. Her carefully groomed brows furrow with pained emotion, her outstretched arms convey an exhausted supplication, and her voice almost breaks as she sings: Do not forget me I know that I am ruined You are hearing my cries IamIran,IamIran1 Since the 1979 establishment of the Islamic Republic of Iran, Iranian law has dictated that all women within the country’s borders must be veiled; women must also refrain from singing in public except under circumscribed conditions. -
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. -
Print to Air.Indd
[ABCDE] VOLUME 6, IssUE 1 F ro m P rin t to Air INSIDE TWP Launches The Format Special A Quiet Storm WTWP Clock Assignment: of Applause 8 9 13 Listen 20 November 21, 2006 © 2006 THE WASHINGTON POST COMPANY VOLUME 6, IssUE 1 An Integrated Curriculum For The Washington Post Newspaper In Education Program A Word about From Print to Air Lesson: The news media has the Individuals and U.S. media concerns are currently caught responsibility to provide citizens up with the latest means of communication — iPods, with information. The articles podcasts, MySpace and Facebook. Activities in this guide and activities in this guide assist focus on an early means of media communication — radio. students in answering the following Streaming, podcasting and satellite technology have kept questions. In what ways does radio a viable medium in contemporary society. providing news through print, broadcast and the Internet help The news peg for this guide is the establishment of citizens to be self-governing, better WTWP radio station by The Washington Post Company informed and engaged in the issues and Bonneville International. We include a wide array and events of their communities? of other stations and media that are engaged in utilizing In what ways is radio an important First Amendment guarantees of a free press. Radio is also means of conveying information to an important means of conveying information to citizens individuals in countries around the in widespread areas of the world. In the pages of The world? Washington Post we learn of the latest developments in technology, media personalities and the significance of radio Level: Mid to high in transmitting information and serving different audiences. -
The Garden of Heaven - Poems of Hafiz Pdf
FREE THE GARDEN OF HEAVEN - POEMS OF HAFIZ PDF Hafiz | 112 pages | 04 Nov 2003 | Dover Publications Inc. | 9780486431611 | English | New York, United States All About Heaven - Observations placeholder His life and poems have become the subjects of much analysis, commentary and interpretation, influencing postth century Persian writing more than any other author. Hafez is best known for his poems that can be described as " antinomian " [7] and with the medieval use of the term "theosophical"; the term " theosophy " in the 13th and 14th centuries was used to indicate mystical work by "authors only inspired by the holy books " as distinguished from theology. Hafez primarily wrote in the literary genre of lyric poetry or ghazalsthat is the ideal style for expressing the ecstasy of divine inspiration in the mystical form of love poems. He was a Sufi. Themes of his ghazals include the beloved, faith and exposing hypocrisy. In his ghazals he deals with love, wine and taverns, all presenting ecstasy and freedom from restraint, whether in actual worldly release or in the voice of the lover [8] speaking of divine love. His tomb is visited often. Adaptations, imitations and translations of his poems exist in all major languages. Hafez was born in Shiraz The Garden of Heaven - Poems of Hafiz, Iran. Despite his profound effect on Persian life and culture and his enduring popularity and influence, few details of his life are known. Accounts of his early life rely upon traditional anecdotes. Early tazkiras biographical sketches mentioning Hafez are generally considered unreliable. Modern scholars generally agree that Hafez was born either in or According to an account by JamiHafez died in Twenty years after his death, a tomb, the Hafeziehwas erected to honor Hafez in the Musalla Gardens in The Garden of Heaven - Poems of Hafiz. -
Read the Introduction
Farzaneh hemmasi TEHRANGELES DREAMING IRANIAN POP MUSIC IN SOUTHERN CALIFORNIA’S INTIMACY AND IMAGINATION TEHRANGELES DREAMING Farzaneh hemmasi TEHRANGELES DREAMING INTIMACY AND IMAGINATION IN SOUTHERN CALIFORNIA’S IRANIAN POP MUSIC Duke University Press · Durham and London · 2020 © 2020 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ∞ Designed by Matthew Tauch Typeset in Portrait Text Regular and Helvetica Neue Extended by Copperline Book Services Library of Congress Cataloging- in- Publication Data Names: Hemmasi, Farzaneh, [date] author. Title: Tehrangeles dreaming : intimacy and imagination in Southern California’s Iranian pop music / Farzaneh Hemmasi. Description: Durham : Duke University Press, 2020. | Includes bibliographical references and index. Identifiers:lccn 2019041096 (print) lccn 2019041097 (ebook) isbn 9781478007906 (hardcover) isbn 9781478008361 (paperback) isbn 9781478012009 (ebook) Subjects: lcsh: Iranians—California—Los Angeles—Music. | Popular music—California—Los Angeles—History and criticism. | Iranians—California—Los Angeles—Ethnic identity. | Iranian diaspora. | Popular music—Iran— History and criticism. | Music—Political aspects—Iran— History—20th century. Classification:lcc ml3477.8.l67 h46 2020 (print) | lcc ml3477.8.l67 (ebook) | ddc 781.63089/915507949—dc23 lc record available at https://lccn.loc.gov/2019041096 lc ebook record available at https://lccn.loc.gov/2019041097 Cover art: Downtown skyline, Los Angeles, California, c. 1990. gala Images Archive/Alamy Stock Photo. To my mother and father vi chapter One CONTENTS ix Acknowledgments 1 Introduction 38 1. The Capital of 6/8 67 2. Iranian Popular Music and History: Views from Tehrangeles 98 3. Expatriate Erotics, Homeland Moralities 122 4. Iran as a Singing Woman 153 5. A Nation in Recovery 186 Conclusion: Forty Years 201 Notes 223 References 235 Index ACKNOWLEDGMENTS There is no way to fully acknowledge the contributions of research interlocutors, mentors, colleagues, friends, and family members to this book, but I will try. -
University of Florida Thesis Or Dissertation Formatting
VOICES OF A REBELLIOUS GENERATION: CULTURAL AND POLITICAL RESISTANCE IN IRAN’S UNDERGROUND ROCK MUSIC By SHABNAM GOLI A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2014 © 2014 Shabnam Goli I dedicate this thesis to my soul mate, Alireza Pourreza, for his unconditional love and support. I owe this achievement to you. ACKNOWLEDGMENTS Completion of this thesis would not have been possible without the help and support of many people. I thank my committee chair, Dr. Larry Crook, for his continuous guidance and encouragement during these three years. I thank you for believing in me and giving me the possibility for growing intellectually and musically. I am very thankful to my committee member, Dr. Welson Tremura, who devoted numerous hours of endless assistance to my research. I thank you for mentoring me and dedicating your kind help and patience to my work. I also thank my professors at the University of Florida, Dr. Silvio dos Santos, Dr. Jennifer Smith, and Dr. Jennifer Thomas, who taught me how to think and how to prosper in my academic life. Furthermore, I express my sincere gratitude to all the informants who agreed to participate in several hours of online and telephone interviews despite all their difficulties, and generously shared their priceless knowledge and experience with me. I thank Alireza Pourreza, Aldoush Alpanian, Davood Ajir, Ali Baghfar, Maryam Asadi, Mana Neyestani, Arash Sobhani, ElectroqutE band members, Shahyar Kabiri, Hooman Ajdari, Arya Karnafi, Ebrahim Nabavi, and Babak Chaman Ara for all their assistance and support. -
467884 364.Pdf
فيلم��ي ك��ه نش��ان مي دهيد اگ��ر فيلم س��ازنده اي باش��د، در سراس��ر كش��ور س��ازندگي دارد و اگ��ر ي��ك فيلم خداي نخواس��ته انحرافي باشد در سراسر كشور تاثيرگذار است. حضرت امام خميني)ره( بنيانگذار جمهوري اسﻻمي ايران امروز كليد پيش��رفت اين كشور، به ميزان زيادي دست شماست؛ شما مي توانيد اين نس��ل را يك نس��ل پيش رونده، اميدوار، پرش��وق، معتق��د ب��ه خ��ود و معتقد به ارزش هاي اسﻻمي و ملي خود بار بياوريد. حضرت آيت اهلل خامنه اي رهبر معظم انقﻻب اسﻻمي ايران کتاب سی و سومین جشنواره بینالمللی فیلم فجر مدیر مسئول: علیرضا رضاداد سردبیر: مسعود نجفی مدیر اجرایی: مهدی متناصری تحریریه: مهرناز رازقی، نفیسه تبریزی، مهران رازقی، سعید اسماعیل افجه و سهیل صﻻحی زاده مترجم: سمیه قاضی زاده ویراستار: احمد تبریزی حروف نگار: زهرا متناصری مدیر هنری: طاها ذاکر )استودیو تهران( عکاس: حسن هندی و امیر خلوصی با همکاری امید معینی، یاسمن ظهورطلب، علی قلندریان و سهیل صﻻحی زاده طراحان گرافیک: فریده براتی، محمدی، شقایق شیرزاد، زهرا روشن قیاس پردازش تصاویر: مهرناز انصاری چاپ: پیمان نو اندیش با سپاس از همراهی استاد عزت اله انتظامی، محمود کﻻری، جمال امید، سیداحد میکاییل زاده، ناصر باکیده، محسن شمس، احد صادقی، شیرین رحیمی، الهه گلچهره رحیمی، احسان ظلی پور، ایمان رحیم پور، درنا مدنی، حمید عدیلی پور، کوروش پیرو، محسن بابایی، منصور جهانی، میﻻد بهشتی، علیرضا بهرامی، شیما غفاری، ندا آل طیب، طاها افخمی، پیمان اسکندری، محمد نیکبخت، مازیار تهرانی، پانته آ غیاثی، ژیﻻ شریف، علی شیرازی، زهرا مصفا، علی حیدری، محمد تهرانی ۱۷ فیلم افتتاحیه ۲۱ سودای سیمرغ )مسابقه سینمای ایران( ۸۷ نگاه نو )مسابقه فیلم های اول( ۱۱9 هنر و تجربه ۱۴۷ سینمای حقیقت )مسابقه آثار بلند مستند( ۱۷۷ مسابقه تبلیغات و اطﻻع -
Final List of Delegations
Supplément au Compte rendu provisoire (21 juin 2019) LISTE FINALE DES DÉLÉGATIONS Conférence internationale du Travail 108e session, Genève Supplement to the Provisional Record (21 June 2019) FINAL LIST OF DELEGATIONS International Labour Conference 108th Session, Geneva Suplemento de Actas Provisionales (21 de junio de 2019) LISTA FINAL DE DELEGACIONES Conferencia Internacional del Trabajo 108.ª reunión, Ginebra 2019 La liste des délégations est présentée sous une forme trilingue. Elle contient d’abord les délégations des Etats membres de l’Organisation représentées à la Conférence dans l’ordre alphabétique selon le nom en français des Etats. Figurent ensuite les représentants des observateurs, des organisations intergouvernementales et des organisations internationales non gouvernementales invitées à la Conférence. Les noms des pays ou des organisations sont donnés en français, en anglais et en espagnol. Toute autre information (titres et fonctions des participants) est indiquée dans une seule de ces langues: celle choisie par le pays ou l’organisation pour ses communications officielles avec l’OIT. Les noms, titres et qualités figurant dans la liste finale des délégations correspondent aux indications fournies dans les pouvoirs officiels reçus au jeudi 20 juin 2019 à 17H00. The list of delegations is presented in trilingual form. It contains the delegations of ILO member States represented at the Conference in the French alphabetical order, followed by the representatives of the observers, intergovernmental organizations and international non- governmental organizations invited to the Conference. The names of the countries and organizations are given in French, English and Spanish. Any other information (titles and functions of participants) is given in only one of these languages: the one chosen by the country or organization for their official communications with the ILO. -
Generalassembly Distr
IITED \TIONS GeneralAssembly Distr. GENERA,L L/ 44/ 620 2 Novenber 19 89 ENGLISH ORIGINAL3 ENGLISH/SPANISH Forty-fourth session Aqenda item 12 REPORT OF TIIE ECONOMIC AND SOCIAL COUNCIL situation of human riohts in the Islanic ReDubtic of Irarr Note by the Secretarv-General The Secretary-General has the honour to transmit to the nembers of the Getteral Assembly the interim report prePared by Mr. Reynaldo Galinalo PohI (EI Salvador), Special Representative of the Conmission on Hunan Rights on the situation of huma4 rights in the Islarnic Republic of, lran, in accordance with paragraPh 14 of Commission on Human Rights resolution 198q/66 of 8 March 1989 antl Econonic and Social Couacif, decision L989/L48.of 24 May 1989. 89-27L47 r.298h (E) ANNEX Interitn report on the situation of humat riqhts in the Islamic RepubLic of Iran, prepared by the Special- Representative of the Cotnmission on Hurnan Rights ip accordance trith Conmission resolution 1989/66 and Ecoromic and Social Council decision L989/L48 CONTENTS Paraqraphs Page I. INTRODUCTION 1-6 4 rI. COMMI'NICATIONS WITII TIIE GOVERNMET.XT OF THE ISLAMIC REPUBLIC OF IRAN 7 -]-6 5 A. Written cornmunications ,.... 7 -L4 5 B. Couversations wilh reprosentatives of the fslamic . Republic of Iran 15-16 L2 III. INFORMATTON AVAILABTE TO TITE SPECIAL REPRESEMTATIVE ....... 17-89 13 A. Oral. infornatioa ... u-57 13 1. Witnesses presented by armed opposition groups .... 2L -43 13 2, witnesaes trhose appearauce was facilitateal by the Iranian Govermelt 44-52 L7 'lo 3. Baha.i witnesses ... 53 - 57 B. Written information 58 - 89 20 1. -
In Persian Pop Music a Comparison of 1970S And
MÜZİKTE TEMSİL & MÜZİKSEL TEMSİL II REPRESENTATION OF ‘LOVE’ IN PERSIAN Samaneh Kahrobaiyan POP MUSIC A COMPARISON OF 1970S University of Tehran AND 2000S POP MUSIC TExTS IN IRAN [email protected] Introduction Many people all over the world fall in love and understand it as a critical important experience in their lives; but ‘love’ is not merely a natural or biological phenomenon, nor a spontaneous event. It’s instead a social construction which formation is determined under cultural and historical conditions. Love can have different faces in different social contexts. The social historical totality of an era, determines that what love is, what kind of relationship is romance, who the lover and beloved one are, and what are their characteristics. People can understand their interpersonal relationships through this collective mentality. Based on this social context, they can interpret their personal experiences and make them meaningful. In order to show how love depends on the social conditions, we can compare two different historical ages and find out how love was understood in those periods of time. The formation and meaning of love can change during the time. For example love has been changed from a ‘platonic love’ in ancient Greece, a rational love of a male beloved one, to the ‘amour passion’ in middle age Europe. In the platonic love, a man chose another man because of philosophic or ethic reasons. Woman is only appropriate for sexual satisfaction or as a mother, she doesn’t deserve to be loved and loving her is a shameful psychological weakness for a man. By emerging the new social formation, feudalism and knighthood, a new mentality about love was formed. -
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