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Sosyoloji Dergisi
SOSYOLOJİ DERGİSİ SOSYOLOJİ DERGİSİ/SOCIOLOGY JOURNAL Cilt/Volume 37 • Sayı/Number 2 • Aralık/December 2017 ISSN 1304-2998 • eISSN 2148-9165 • doi 10.26650/TJS Sosyoloji Dergisi uluslararası ve hakemli bir dergidir. Yayımlanan makalelerin sorumluluğu yazarına/yazarlarına aittir. Sociology Journal is the official peer-reviewed, international journal of the Istanbul University Department of Sociology. Authors bear responsibility for the content of their published articles. Baş Editör/Editor-in-Chief Prof. Dr. İsmail Coşkun (İstanbul Üniversitesi) Sayı Editörü/Guest Editor Yrd. Doç. Dr. Ekin Öyken (İstanbul Üniversitesi) Yönetici Editör/Managing Editor Arş. Gör. M. Fatih Karakaya (İstanbul Üniversitesi) Çeviri Editörleri/English Language Editors ENAGO Kevin A. Collins Yrd. Doç. Dr. Mehmet Ali Akyurt Arş. Gör. Nuseybe Ağırman Arş. Gör. Salih Ünüvar Yayın Kurulu/International Editorial Board* Yrd. Doç. Dr. Ayşen Şatıroğlu (İstanbul Üniversitesi, Türkiye) Doç. Dr. Craig Browne (Sydney University, Avustralya) Prof. Dr. David R. Segal (Maryland University, ABD) Prof. Dr. Douglas Kellner (University of California, ABD) Doç. Dr. Enes Kabakcı (İstanbul Üniversitesi, Türkiye) Prof. Dr. Glenn Muschert (Miami University, ABD) Prof. Dr. İsmail Coşkun (İstanbul Üniversitesi, Türkiye) Doç. Dr. J. Scott Brown (Miami University, ABD) Prof. Dr. Jeffrey C. Alexander (Yale Univerity, ABD) Doç. Dr. Mehmet Samsakçı (İstanbul Üniversitesi, Türkiye) Dr. Michael Illner (Bilimler Akademisi, Çek Cumhuriyeti) Doç. Dr. Orhan Gürbüz (İstanbul Üniversitesi, Türkiye) Doç. Dr. Oya Okan (İstanbul Üniversitesi, Türkiye) Prof. Dr. Philip Smith (Yale Univerity, ABD) Prof. Dr. Ryan Kelty (Washington College, ABD) Prof. Dr. Sujatha Fernandes (City University of New York, ABD) Prof. Dr. Timothy Shortell (City University of New York, ABD) Prof. Dr. William Peter Baehr (Lingnan University, Hong Kong) Prof. -
Alizadeh Behroozinia.Cdr
HEART STRUMS Reverberations from another world Oh, Strummer of the lute of my heart, Hear in this moan the reply of my heart. Rumi ای زﻪ زﻨﺪه رﺑﺎب دل ﻦ ﻮ ﻮ از اﻦ ﻮاب دل ﻦ ﻮﻮی Four top, accomplished musicians, envoys by whose ngers the magical hand of music strums the hearts of listeners, imbue their environs with other-worldly sounds whose rustle, tap, chime, clink, lilt, whisper, and croon touch the souls of audiences and squire them on an intoxicating journey of transformation through uttering restlessness, sobbing grief, galloping ecstasy, and swirling joy. Rooted rmly in the melodic frames of classical Persian music, this collection inspires the spirit in meditative, romantic, melancholic, and joyous explorations, even of listeners unfamiliar with the sounds of this musical tradition. Hossein Alizadeh, Behnam Samani, virtuoso acclaimed composer, percussionist who plays daf, a frame musicologist, teacher, and drum, and Tombak, a goblet drum, was an undisputed born in Iran and lives in Cologne, contemporary master of Germany. He has worked and played classical Persian music, was with the most prominent musicians and born in Tehran and lives in renowned masters of Iranian music, Iran. He is a virtuoso player rendering not only complex rhythms, of setar (three-string) and tar but also improvising unexpected (string), a Persian lute, which melodies. He is a founding member of is considered the "Sultan of the Zarbang ensemble and through his instruments". Celebrated for collaboration and performances with his refreshing world-class musicians in international improvisations, he is also an venues, has attracted audiences acknowledged preserver of unfamiliar with classical Iranian music to this art form. -
Kayhan Kalhor/Erdal Erzincan the Wind
ECM Kayhan Kalhor/Erdal Erzincan The Wind Kayhan Kalhor: kamancheh; Erdal Erzincan: baglama; Ulaş Özdemir: divan baglama ECM 1981 CD 6024 985 6354 (0) Release: September 26, 2006 After “The Rain”, his Grammy-nominated album with the group Ghazal, comes “The Wind”, a documentation of Kayhan Kalhor’s first encounter with Erdal Erzincan. It presents gripping music, airborne music indeed, pervasive, penetrating, propelled into new spaces by the relentless, searching energies of its protagonists. Yet it is also music firmly anchored in the folk and classical traditions of Persia and Turkey. Iranian kamancheh virtuoso Kalhor does not undertake his transcultural projects lightly. Ghazal, the Persian-Indian ‘synthesis’ group which he initiated with sitarist Shujaat Husain Khan followed some fifteen years of dialogue with North Indian musicians, in search of the right partner. “Because I come from a musical background which is widely based on improvisation, I really like to explore this element with players from different yet related traditions, to see what we can discover together. I’m testing the water – putting one foot to the left, so to speak, in Turkey. And one foot to the right, in India. I’m between them. Geographically, physically, musically. And I’m trying to understand our differences. What is the difference between Shujaat and Erdal? Which is the bigger gap? And where will this lead?” Kayhan began his association with Turkish baglama master Erdal Erzincan by making several research trips, in consecutive years, to Istanbul, collecting material, looking for pieces that he and Erdal might play together. He was accompanied on his journeys by musicologist/player Ulaş Özdemir who also served as translator and eventually took a supporting role in the Kalhor/Erzincan collaboration. -
DAS MAGAZIN 02 MAI / JUN 2011 Pierre Boulez, Frankreich Und Die
DAS MAGAZIN 02 MIT FESTIVAL-SONDERSEITEN MAI / JUN 2011 Pierre Boulez, Frankreich und die Moderne Das neue Festival ACHT BRÜCKEN | Musik für Köln widmet sich der Musik Frankreichs Klaus Doldinger zum 75. Der erfolgreichste Jazzmusiker Deutschlands feiert viele Jahrzehnte Jazz-Geschichte Nikolaus Harnoncourt Der Alte-Musik-Pionier ist mit seinem Concentus Musicus der Tanzmusik auf der Spur Pierre Boulez EDITORIAL Ausgabe 02/2011: Mai / Juni 2011 Ihr Ansprechpartner: Dipl.-Kfm. J. H. Kratzke Liebe Besucherinnen und Besucher, liebe Freundinnen und Freunde der Kölner Philharmonie, Köln hat ein neues Festival: ACHT BRÜCKEN | Musik für Köln. Von nun an wird sich dieses Festival jedes Jahr Anfang Mai eine Woche lang der Musik der Moderne widmen. Dabei können Sie nicht nur große Immobilien Vertrieb Köln Ensembles in der Kölner Philharmonie erleben, sondern sich auch an vielen unterschiedlichen Spielstätten aufregenden musikalischen Erlebnissen hingeben. Wir werden Sie auch an ganz besondere Orte Der Stadtteilkomplex mit dem Möbelhaus Pesch vom Gereonsviertel bis locken, die Sie bisher noch nicht mit Musik in Verbindung gebracht ha- zum Kölner Cityring - das ist nur ein Vermittlungserfolg. Der Immobilien ben. In diesem Jahr, in dem das Werk der Musikerpersönlichkeit Pierre Boulez im Fokus des Programms steht, werden wir Ihnen bspw. einen Vertrieb Köln findet auch für Ihr Immobilienportfolio in kürzester Zeit den Solo-Abend des Geigers Michael Barenboim an einem Ort mit dem wohl längsten Namen präsentieren: in der Lagerstätte für die mobilen passenden Käufer. Hochwasserschutzelemente bei der Rodenkirchener Brücke. Bevor Sie Für eine Wertermittlung rufen Sie an unter 0221 - 660 65 -12. sich aber diesem akustisch phänomenalen Ereignis hingeben können, wird das Festival durch keinen Geringeren als Pierre Boulez in der Kölner Philharmonie eröff net. -
Introduction to Persian Traditional Music
1/9/14 Beyond the Veil: Persian Traditional Music http://www.internews.org/visavis/BTVPagesInews/Persian_trad_music.html Go NOV JAN FEB 110 captures 14 3 Feb 99 ‑ 11 Oct 13 2007 2008 2009 IN THIS SECTION | The Iranian Cinema | Literature| Persian Traditional Music Introduction to Persian Traditional Music by SHAHROKH YADEGARI IN THIS ARTICLE The Influence of Islam The Marriage of Melody with Poetry Radif the foundation of skilled improvisation Popularization and return to roots After the 1979 Revolution Links and recommended recordings The music of Iran has changed considerably in the past 25 years, which incidentally is the period of the Islamic Revolution and the establishment of theocracy in Iran. It is an open question whether Iranian music has changed as a direct result of the Revolution, or whether the music would have evolved similarly in any case. Before 1979, one could easily have separated Persian music into two distinct categories: art music and pop music. The strong censorship practiced before the Revolution required the music to be void of any political messages, and most of the time pop music was the form presented on The National Radio and Television of Iran. Broadcasts of traditional music performances usually ran no longer than 15 minutes. This restriction was established by the producers and had the effect of cramping the music and its form. One can compare traditional Persian music to the classical music of the West, which one should listen to from the beginning to the end with full attention. This form of Iranian music is based on improvisation and has a very inward quality. -
Masters of Persian Classical Music Sunday, February 27, 2005, 7 Pm Zellerbach Hall
CAL PERFORMANCES PRESENTS Masters of Persian Classical Music Sunday, February 27, 2005, 7 pm Zellerbach Hall Mohammad Reza Shajarian, vocals Hossein Alizadeh, tar Kayhan Kalhor, kamancheh Homayoun Shajarian, tombak This tour is organized by World Music Institute, New York Masters of Persian Music’s New Double CD Faryad is available on the World Village label This performance has been made possible in part by the Friends of Cal Performances. Cal Performances thanks the William and Flora Hewlett Foundation, The Wallace Foundation, and the Zellerbach Family Foundation for their generous support. 27 CAL PERFORMANCES PROGRAM Saz va Avaz (instrument and vocal improvisation) Mohammad Reza Shajarian and Kayhan Kalhor Instrumental piece Raqs-e Zar Tasnif-e Niyayesh Poetry by Sohrab Sepeheri Tasnif-e Bezan Zakhmeh Poetry by Shafe’ie Kadkani Compositions by Hossein Alizadeh INTERMISSION Dastgah Avaz-e Bayat-e Zand Moghadammeh Najva* (Whisper) Poetry by Sa’adi Saz va Avaz Ghazal by Sa’adi Nowrooz* (instrumental) Saz va Avaz Tasnif-e Selseleh Mou** Chaharmezrab Saz va Avaz (in Dashti) Tasnif-e Mara raha kon*** Poetry by Mowlana, Masnavi Tasnif-e Dayreh Fani Poetry by Mowlana * composed by Hossein Alizadeh **anonymous composer ***based on a Kurdish melody by S. Ali Asghar Kurdestani, the distinguished singer of the Qajar period 28 CAL PERFORMANCES ABOUT THE ARTISTS Mohammad Reza Shajarian is the undisputed Tehran in 1975, where he received his degree in master of Persian traditional (classical) singing and composition and performance. During the same is regarded as a national treasure by both musicians period he studied with various ostads of traditional and music lovers. -
Le-Programme-2017-De-L-Ete-Frappe
Programme complet sur www.macon.fr Mercredi 21 juin / Dès 20 h / Esplanade Lamartine Parking Lamartine ouvert jusqu’à la fin des concerts Choisir d’aller voir un spectacle, d’assister à une animation sportive… [Chanson pop française et anglaise] c’est un peu comme piocher dans une boîte de chocolats : on ne sait Les Michelines, c’est un duo vocal acoustique et percussions. Les Michelines ce pas trop sur quoi on va tomber. Une friandise douce et sucrée ? Une sa- sont des reprises revisitées, et aussi des compos tantôt légères et festives, tantôt veur amère et intense ? Un goût complètement inconnu jusque-là ? Une plus graves. Les Michelines ce sont deux voix qui ont bien fait de se rencontrer et qui font bien de ne plus se quitter. proposition complètement inattendue ? Chacun aura sa préférence… Envie d’évasion ou de confrontation, besoin de réconfort, d’un exutoire, de rire, de pleurer ou de partager, les raisons de voir une rencontre [Pop rock] sportive ou un spectacle sont multiples. Chacun ses goûts. Grace Lee est un trip pop à part entière qui emmène partout d’où il est possible de ne pas revenir, avec cet on ne sait quoi de politique de la terre Mais qu’importent les motivations qui nous poussent à nous laisser brûlée dans ses bagages. Comme si rien ne devait repousser après son surprendre par le goût d’un chocolat ou d’une proposition artistique… passage, comme si on ne devait pas tout à fait s’en remettre. Comme si La curiosité n’étant pas un vilain défaut, mais plutôt une nécessaire on nous disait, « tu n’aimeras jamais plus après moi ». -
Hossein Alizadeh Rembrandt Trio
JL007 HOSSEIN ALIZADEH REMBRANDT TRIO » SAME SELF, SAME SILENCE « » SAME SELF, SAME SILENCE « These are sounds of the ancient and the modern. • Echoes of jazz solidify among the chromatics of the dastgāh, adorned by ornaments both Persian and Baroque. • Musical instruments that were nearly lost to history resonate with those that are the first of their kind. • The art music of three continents swirls together as sweet-scented vapour and become one. HOSSEIN ALIZADEH Few musicians of contemporary Iran are as respected as Hossein Alizadeh. He is the leading master of Persian lutes: the tar (the hourglass-shaped lute), the setar (a long-necked lute with variants across Central Asia and the Middle East), and, as you can hear on Same Silence, Same Self, the shurangiz, an instru- ment built to his own specifications that serves as a midpoint between the two. Born in Tehran in 1950 to mixed Persian-Azeri parentage, Alizadeh quickly became immersed in the tradition of musiqi-e assil – the classical music of Iran that can be traced back many centuries. He became a professional musi- cian aged just 15, and was soon noted for his powerful yet delicate performance style and his virtuosity in improvisation within the classical structures. Aside from strict interpretations of classical and traditional music, Alizadeh has also been at the forefront of innovative music in Iran, and has ex- panded the possibilities of what is thinkable within the realms of Persian music. He has been particularly celebrated as a composer, with notable works including HOSSEIN ALIZADEH a concerto for ney (end-blown reed flute) and string orchestra entitled NayNava (1983) and scores for the films Gabbeh (1996) and Turtles Can Fly (2004). -
The Keepers of Persian Classical Rnusic
w Music Wainrn N -- Continuedfrom E Thekeepers of Persianclassical rnusic Santa Cruz to f Freight & Salv E ley on Saturda m ByAndrew Gilbed U Correspondent been a fan everl u Sometimesit seemsthat very interesting t classical Persian culture is player and all-r o welcome everywhere but at tainer. What hr a homein lran. indescribable. E. don'tsounr l Music in particular has "I I been badly buffeted in the like Charlie Por F Islamic Republic, where try to copy Ch even the most venerable art- do an imperson ists often are tolerated more hopefully captt than celebrated.While sold- the spirit of his out venues around the globe Poole's pr greet the multigenerational got a boost las ensemble Masters of Per- Wainwright ar sian Music, which performs lie Poole Projr Saturday at Zellerbach Hall Grammy Awt for Cal- Performances and Traditional I Sunday at Montalvo Arts It's an achie Center's Carriase House Wainwright is Theatre, in Iranlhe group ably.proud of rarely has the opportunity to should increat play in public. of the album.l "One of the first efforts bolster interes that the regime made in the box set that early dayswas to ban music," in 2005 caller savs Abbas Milani, director Talkin'to Me: of Stanford's Iranian Studies KayhanKalhor, left, and Hossein Alizadeh, of thegroup Masters o.f Persian Music and the Root Program: 'Initially, the only "Wb'realways trying to representthe modern culture of lranJ'Kalhor says. Music." thing they would allow on Wainwright TV and radio were Islamic tertwined with rhythms of Mastersof PersianMusic casessome of the tradition's nection to Pot passion plays and Koranic classicalPersian poetry, he When:8p.m. -
Cahiers D'ethnomusicologie, 30
Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 30 | 2017 Perspectives Édition électronique URL : http://journals.openedition.org/ethnomusicologie/2650 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 10 décembre 2017 ISBN : 978-2-88474-471-3 ISSN : 1662-372X Référence électronique Cahiers d’ethnomusicologie, 30 | 2017, « Perspectives » [En ligne], mis en ligne le 10 décembre 2019, consulté le 02 juin 2020. URL : http://journals.openedition.org/ethnomusicologie/2650 Ce document a été généré automatiquement le 2 juin 2020. Article L.111-1 du Code de la propriété intellectuelle. 1 La profonde dynamique de changement que connaissent toutes les sociétés contemporaines impose désormais de centrer le regard sur l’évolution des pratiques, des contextes, des modes de représentation et de diffusion, des modalités de transmission ou des phénomènes de revitalisation et de patrimonialisation. Ce dossier propose une réflexion prospective, s’appuyant sur les nouveaux axes de recherche, les terrains et les méthodes récemment apparus, ainsi que l’interdisciplinarité de plus en plus marquée qui caractérise l’ethnomusicologie aujourd’hui. La prise en compte de la mobilité, des phénomènes de migration, de la globalisation et de l’appropriation de cultures musicales exogènes, notamment par les outils issus de la « révolution numérique », ont imposé aux chercheurs de s’adapter et d’inventer une ethnomusicologie différente, à partir d’ethnographies inédites (par exemple sur les réseaux sociaux ou sur des terrains multi-situés), et nécessitant un nouveau type de positionnement. Cahiers d’ethnomusicologie, 30 | 2017 2 SOMMAIRE Dossier : Perspectives – Quel devenir pour l’ethnomusicologie ? Zoom arrière. L’ethnomusicologie à l’ère du Big Data Florabelle Spielmann, Aurélie Helmlinger, Joséphine Simonnot, Thomas Fillon, Guillaume Pellerin, Bob L. -
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 -
Sa7. Nov 20 2015
Hossein Alireza Alizadeh Zarbang Ghorbani SA7. NOV2015 20UHR Allerheiligen-Hofkirche Residenzstr. 1 München KARTEN UNTER: www.MuenchenTicket.de KT1 32€ KT2 27€ Mit freundlicher Unterstützung von: Veranstalter: Chakavak Ensemble München „Liebestrunken“ ist das Motto für die Verschmelzung mehrerer künstlerisch-musikalischer Elemente der klassischen persischen Musik in diesem einmaligen Projekt von Klang, Gesang und Perkussion. Hossein Alizadeh: Tar, Setar Zarbang: Alireza Ghorbani: Gesang Behnam Samani: Daf, Tombak, Dammam, Udu Siamak Jahangiri: Ney Pejman Hadadi: Tombak, Daf Ali Boustan: Shurangiz Javid Afsari Rad: Santur, Naghare Saba Alizadeh: Kamancheh Reza Samani: Tombak, Daf Hossein Alizadeh ist Komponist und Instrumentalist und einer der wichtigsten Protagonis- ten der persischen Gegenwartsmusik. Er wird an diesem Abend durch seine Kompositionen in Begleitung von Gesang, Ney und Perkussion (Zarbang Quartett), dem Publikum eine neue Richtung der persischen Klassik präsentieren. „Liebestrunken“ vereint Kompositionen von Hossein Alizadeh zu Texten großer klassischer als auch zeitgenössischer persischer Dichter. Das Programm wird der Improvisation, einem wichtigen Charakteristikum der persischen Musik, einen großen Raum bieten, denn sowohl Hossein Alizadeh als auch die anderen Musiker sind Meister der Kunst der Improvisation und verstehen sich darauf, ihr Publikum zu begeistern und mitzureißen. Alireza Ghorbani gehört zu den populärsten Interpreten traditioneller und klassischer ira- nischer Musik. Er ist Sänger des iranischen Nationalorchesters, mit dem er bei zahlreichen Veranstaltungen im Iran und im Ausland aufgetreten ist. Zarbang kombiniert als Welt-Perkussionsgruppe eine erstaunliche Vielfalt von Rhythmen mit vielfarbigen Klangelementen; die Musik des Ensembles hat ihre Wurzeln in der klassi- schen persischen Musik, öffnet sich aber Einflüssen anderer Kulturen und erschließt so neue Klangräume, die eine große Bandbreite musikalischen Ausdrucks ermöglichen.