Sasanid Music (From Historical Texts to Archaeological Evidence)
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Iranian Traditional Music Dastgah Classification
12th International Society for Music Information Retrieval Conference (ISMIR 2011) IRANIAN TRADITIONAL MUSIC DASTGAH CLASSIFICATION SajjadAbdoli Computer Department, Islamic Azad University, Central Tehran Branch, Tehran, Iran [email protected] ABSTRACT logic to integrate music tuning theory and practice. After feature extraction, the proposed system assumes In this study, a system for Iranian traditional music Dastgah each performed note as an IT2FS, so each musical piece is a classification is presented. Persian music is based upon a set set of IT2FSs.The maximum similarity between this set and of seven major Dastgahs. The Dastgah in Persian music is theoretical Dastgah prototypes, which are also sets of similar to western musical scales and also Maqams in IT2FSs, indicates the desirable Dastgah. Gedik et al. [10] Turkish and Arabic music. Fuzzy logic type 2 as the basic used the songs of the dataset to construct the patterns, part of our system has been used for modeling the whereas in this study, the system makes no assumption about uncertainty of tuning the scale steps of each Dastgah. The the data except that different Dastgahs have different pitch method assumes each performed note as a Fuzzy Set (FS), so intervals. Figure 1 shows the schematic diagram of the each musical piece is a set of FSs. The maximum similarity system. We also show that the system can recognize the between this set and theoretical data indicates the desirable Dastgah of the songs of the proposed dataset with overall Dastgah. In this study, a collection of small-sized dataset for accuracy of 85%. Persian music is also given. -
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. -
Tribes and Empire on the Margins of Nineteenth-Century Iran
publications on the near east publications on the near east Poetry’s Voice, Society’s Song: Ottoman Lyric The Transformation of Islamic Art during Poetry by Walter G. Andrews the Sunni Revival by Yasser Tabbaa The Remaking of Istanbul: Portrait of an Shiraz in the Age of Hafez: The Glory of Ottoman City in the Nineteenth Century a Medieval Persian City by John Limbert by Zeynep Çelik The Martyrs of Karbala: Shi‘i Symbols The Tragedy of Sohráb and Rostám from and Rituals in Modern Iran the Persian National Epic, the Shahname by Kamran Scot Aghaie of Abol-Qasem Ferdowsi, translated by Ottoman Lyric Poetry: An Anthology, Jerome W. Clinton Expanded Edition, edited and translated The Jews in Modern Egypt, 1914–1952 by Walter G. Andrews, Najaat Black, and by Gudrun Krämer Mehmet Kalpaklı Izmir and the Levantine World, 1550–1650 Party Building in the Modern Middle East: by Daniel Goffman The Origins of Competitive and Coercive Rule by Michele Penner Angrist Medieval Agriculture and Islamic Science: The Almanac of a Yemeni Sultan Everyday Life and Consumer Culture by Daniel Martin Varisco in Eighteenth-Century Damascus by James Grehan Rethinking Modernity and National Identity in Turkey, edited by Sibel Bozdog˘an and The City’s Pleasures: Istanbul in the Eigh- Res¸at Kasaba teenth Century by Shirine Hamadeh Slavery and Abolition in the Ottoman Middle Reading Orientalism: Said and the Unsaid East by Ehud R. Toledano by Daniel Martin Varisco Britons in the Ottoman Empire, 1642–1660 The Merchant Houses of Mocha: Trade by Daniel Goffman and Architecture in an Indian Ocean Port by Nancy Um Popular Preaching and Religious Authority in the Medieval Islamic Near East Tribes and Empire on the Margins of Nine- by Jonathan P. -
Instrument List
Instrument List Africa: Europe: Kora, Domu, Begana, Mijwiz 1, Mijwiz 2, Arghul, Celtic & Wire Strung Harps, Mandolins, Zitter, Ewe drum collection, Udu drums, Doun Doun Collection of Recorders, Irish and other whistles, drums, Talking drums, Djembe, Mbira, Log drums, FDouble Flutes, Overtone Flutes, Sideblown Balafon, and many other African instruments. Flutes, Folk Flutes, Chanters and Bagpipes, Bodran, Hang drum, Jews harps, accordions, China: Alphorn and many other European instruments. Erhu, Guzheng, Pipa, Yuequin, Bawu, Di-Zi, Guanzi, Hulusi, Sheng, Suona, Xiao, Bo, Darangu Middle East: Lion Drum, Bianzhong, Temple bells & blocks, Oud, Santoor, Duduk, Maqrunah, Duff, Dumbek, Chinese gongs & cymbals, and various other Darabuka, Riqq, Zarb, Zills and other Middle Chinese instruments. Eastern instruments. India: North America: Sitar, Sarangi, Tambura, Electric Sitar, Small Banjo, Dulcimer, Zither, Washtub Bass, Native Zheng, Yuequin, Bansuris, Pungi Snake Charmer, Flute, Fife, Bottle Blows, Slide Whistle, Powwow Shenai, Indian Whistle, Harmonium, Tablas, Dafli, drum, Buffalo drum, Cherokee drum, Pueblo Damroo, Chimtas, Dhol, Manjeera, Mridangam, drum, Log drum, Washboard, Harmonicas Naal, Pakhawaj, Tamte, Tasha, Tavil, and many and more. other Indian instruments. Latin America: Japan: South American & Veracruz Harps, Guitarron, Taiko Drum collection, Koto, Shakuhachi, Quena, Tarka, Panpipes, Ocarinas, Steel Drums, Hichiriki, Sanshin, Shamisen, Knotweed Flute, Bandoneon, Berimbau, Bombo, Rain Stick, Okedo, Tebyoshi, Tsuzumi and other Japanese and an extensive Latin Percussion collection. instruments. Oceania & Australia: Other Asian Regions: Complete Jave & Bali Gamelan collections, Jobi Baba, Piri, Gopichand, Dan Tranh, Dan Ty Sulings, Ukeleles, Hawaiian Nose Flute, Ipu, Ba,Tangku Drum, Madal, Luo & Thai Gongs, Hawaiian percussion and more. Gedul, and more. www.garritan.com Garritan World Instruments Collection A complete world instruments collection The world instruments library contains hundreds of high-quality instruments from all corners of the globe. -
Iran's Holiday Calendar
IRAN’S HOLIDAY CALENDAR 2016 January 2016 Your Travel Companion 1 goingIRAN wants you to see, read, and know everything about Iran. Ask us about all your needs. goingIRAN strives to acquaint Iranian art and culture with audiences abroad. COPYRIGHT All of the published content on this e-Booklet have all rights reserved. All goingIRAN content, logos and graphic designs of this e-Booklet are property of the Web Gasht Nameh Company. Solely Web Gasht Nameh holds the right to publish and use the formerly stated material. Any use of the goingIRAN graphics (logo, content, design) may only happen through the written request of the user and the ac- ceptance of goingIRAN. Upon our realization of any violation of goingIRAN’s rights, legal action will be taken. IRAN’S HOLIDAY CALENDAR Author: Rojan Hemmati & Alireza Sattari (Sourced From an authentic 2016 Iranian Calendar) Central Office: Tehran-IRAN Post code: 1447893713 Designed by Studio TOOL www.goingiran.com [email protected] 2 Aside from the national holidays that follow the Persian Solar Calendar, many of Iran’s holidays are in accordance with events in the Islamic religion and follow the Mus- lim Lunar Calendar, which moves about 10 days forward each year. A few examples of Iranian holidays are: Iranian New Year (Nowruz): Celebrated on the first day of spring, this date has been the mark of the New Year for over 5,000 years throughout several ancient cultures. It embraces the spring equinox and has been celebrated in the same unique Iranian way for the past 3,000 years. It is also deeply rooted in the Zoroastrian belief system. -
To:$M.R$Ahmad$Shahid$ Special$Rapporteur$On$The
To:$M.r$Ahmad$Shahid$ Special$Rapporteur$on$the$human$rights$situation$in$Iran$ $ Dear%Sir,% % such%as%equal%rights%to%education%for%everyone,%preventing%the%dismissal%and%forced%retirements%of% dissident%university%professors,%right%of%research%without%limitations%in%universities%and%to%sum%up% expansion%of%academic%liberties.%Student%activists%have%also%been%pursuing%basic%rights%of%the%people% such%as%freedom%of%speech,%press,%and%rallies,%free%formation%and%function%of%parties,%syndicates,%civil% associations%and%also%regard%of%democratic%principles%in%the%political%structure%for%many%years.% % But%unfortunately%the%regime%has%rarely%been%friendly%towards%students.%They%have%always%tried%to%force% from%education,%banishments%to%universities%in%remote%cities,%arrests,%prosecutions%and%heavy%sentences% of%lashing,%prison%and%even%incarceration%in%banishment,%all%for%peaceful%and%lawful%pursuit%of%the% previously%mentioned%demands.%Demands%which%according%to%the%human%rights%charter%are%considered% the%most%basic%rights%of%every%human%being%and%Islamic%Republic%of%Iran%as%a%subscriber%is%bound%to% uphold.% % The%government%also%attempts%to%shut%down%any%student%associations%which%are%active%in%peaceful%and% lawful%criticism,%and%their%members%are%subjected%to%all%sorts%of%pressures%and%restrictions%to%stop%them.% Islamic%Associations%for%example%which%have%over%60%years%of%history%almost%twice%as%of%the%Islamic% republic%regimeE%and%in%recent%years%have%been%the%only%official%criticizing%student%associations%in% universities,%despite%their%massive%number%of%student%members,%have%been%shut%down%by%the% -
Investigate Lyrical Themes in Iranian Inscription Carpets in Qajar Era
The Turkish Online Journal of Design, Art and Communication - TOJDAC November 2016 Special Edition INVESTIGATE LYRICAL THEMES IN IRANIAN INSCRIPTION CARPETS IN QAJAR ERA Lale Ahani Tabriz Islamic Art University, Iran [email protected] Azade Yaghobzadeh Tabriz Islamic Art University, Iran [email protected] Ali Vandshoari Tabriz Islamic Art University, Iran [email protected] ABSTRACT Qajar era is included a big part of the history of Iranian art. In the era, it was prepared an appropriate context for the growth of a variety of arts, including art - carpet industry. Artists relying on the precious heritages that had from Iranian art history, especially the Safavid period and by influencing situation of their time were awarded to the creation of new works. In this era, art -carpet industry were significantly changed as a part of the culture and art of the society that has deep and undeniable continuity with different historical and cultural developments of society; as it has been witnessed major changes in the field of design and pattern, dimension and size, supporting and monitoring and managerial factors. This article while introducing inscription in Qajar carpets, introduces and investigates a batch of inscription carpets with lyrical literature themes. In this regard, the relationship between the themes of inscriptions with design, the source of inspiration and the importance of subject depicted is the research problem and responding and rooting mentioned cases is the objectives of this article. During the studies conducted, the inscriptions due to the importance and special place in that historical juncture are a reflection of the political, social and cultural situation of aforementioned period in Iran. -
Hâfez and Betinis: a Conductor’S Approach to Ancient Persian Poetry As Voiced by a Twenty-First Century, Western Composer
HÂFEZ AND BETINIS: A CONDUCTOR’S APPROACH TO ANCIENT PERSIAN POETRY AS VOICED BY A TWENTY-FIRST CENTURY, WESTERN COMPOSER Peter C. Steenblik, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2015 APPROVED: Dr. Jerry McCoy, Major Professor and Director of Choral Studies Dr. Stephen Austin, Committee Member and Director of Vocal Studies Dr. Richard Sparks, Committee Member and Chair of the Division of Conducting and Ensembles Dr. Benjamin Brand, Director of Graduate Studies, College of Music Dr. John C. Scott, Dean of the College of Music Dr. Costas Tsatsoulis, Dean of the Toulouse Graduate School Steenblik, Peter C. Hâfez and Betinis: A Conductor’s Approach to Ancient Persian Poetry as Voiced by a Twenty-First Century, Western Composer. Doctor of Musical Arts (Performance), December 2015, 91 pp., 1 table, 20 illustrations, bibliography, 67 titles. The choral music of Abbie Betinis is being widely performed and commissioned by prominent high school, university, and civic choruses. This study examines From Behind the Caravan: Songs of Hâfez, a five-movement work by Betinis for women’s chorus, vielle, oud, and Persian percussion. Four ghazals by Hâfez of Shiraz, a fourteenth century Sufi poet, are used as the text for Betinis’s Caravan. When considering a performance of this work, a conductor must understand proper treatment of the text, available translation options, Hâfez’s vast world of imagery, vocal demands inherent to the work, alternate instrumentations available and the benefits of each, how to approach improvisatory passages, how to engage heterophonic elements, and how to prepare a Western choir and audience with very little to no understanding of the philosophies of Sufism that heavily influence the work. -
Newsletter Spring 2007 Final.Indd
CENTER FOR IRANIAN STUDIES NEWSLETTER Vol. 19, No. 1 SIPA-Columbia University-New York Spring 2007 ENCYCLOPÆDIA IRANICA GALA BENEFIT FASCICLE 1 OF VOLUME XIV PUBLISHED DINNER EW ORK ITY Fascicle 1 of Volume XIV features ISLAMIC History; v. LOCAL HISTORIOG- N Y C the remaining sections of the entry RAPHY; vi. MEDIEVAL PERIOD; vii. THE MAY 5, 2007 ISFAHAN, a series of 22 articles that SAFAVID PERIOD; VIII. THE QAJAR began in Fascicle 6 of Volume XIII. PERIOD; ix. THE PAHLAVI PERIOD The city of Isfahan has served as one AND POST-REVOLUTION ERA; x. of the most important urban centers MONUMENTS; xi. ISFAHAN SCHOOL on the Iranian plateau since ancient OF PAINTING AND CALLIGRAPHY; xii. times and has gained, over centuries BAZAAR, PLAN AND FUNCTION; xiii. of urbanization, many significant monu- CRAFTS; xiv. MODERN ECONOMY AND IN- ments. Isfahan is home to a number of DUSTRIES; xv. EDUCATION AND CULTURAL monuments that have been designated AFFAIRS; xvi. ISFAHAN IN THE MIRROR OF by UNESCO as World Heritage Sites. It FOLKLORE AND LEGEND; xvii. ARMENIAN is Persiaʼs third largest city, after Tehran COMMUNITY (referred to JULFA); xviii. and Mashad, with a population of over JEWISH COMMUNITY; xix. JEWISH DIA- 1.4 million in 2004. LECTS; xx. GEOGRAPHY OF THE MEDIAN The series explores the following DIALECTS; xxi. PROVINCIAL DIALECTS; Dr. Maryam Safai topics: i. GEOGRAPHY; ii. HISTORICAL XXII. GAZI DIALECT. GEOGRAPHY; iii. POPULATION; iv. PRE- Continued on page 2 The Gala Benefit Dinner for the Encyclopædia Iranica will be held in the Rotunda of Columbia University MAJOR DONORS TO THE on May 5, 2007 from 6:30 PM to 1:30 AM. -
Nomadic Path
Nomadic path With the onset of the Neolithic Revolution and the emergence of Mesopotamian populations, groups of people who lived in the surrounding mountains migrated to the banks of the large rivers of these areas and founded human civilization. People living in Zagros Mountains (western part of Iran) were likely the first people who had domesticated some animals many years ago, were among them. The life of these people was dependent on livestock farming; and each year, looking for good pastures, they migrated between two sides of Zagros Mountain range. But this lifestyle with its ancient traditions is still alive in Zagros Mountains. There are still some Bakhtiari tribes who migrate annually between the tropical regions in Khuzestan (ancient Elam) and the cold and elevated regions in the east of Zagros mountain range. This is a journey along the immigration path, From Susa to Isfahan. www.irannoborders.com E-mail: [email protected] https://www.instagram.com/Irannoborders/ Highlights: Visiting Tehran, the most modern city in Iran and the city of museums(Museum of Ancient Iran, national jewelry museum, the great traditional bazaar, Golestan and Saad Abad palaces. Visiting Shush, the main capital of Elam civilization; Shushtar, an ancient fortress city, and ChoghaZanbil Ziggurat. Exploring Shimbar region, a main region for Iranian nomads. Isfahan, half of the world! the city of Persian architecture. Best time: April www.irannoborders.com E-mail: [email protected] https://www.instagram.com/Irannoborders/ Day 1, 2 and 3: Because of the difference in details passenger’s arrival time, the first day is going to be Duration: 9 days Trip name Nomadic path the transportation from the airport to the hotel (code): Minimum 2/Maximum 10 Group Size: and rest day. -
Doud-E-Oud Overtour [In Nava] Arranger: Saeidi-Rad, Morteza Copyright: Copyright © Morteza Saeidi-Rad Publisher: Saeidi-Rad, Morteza Style: Blank Sheet Music
Morteza Saeidi-Rad Arranger, Composer, Director, Teacher Iran, Tehran Artist page : http://www.free-scores.com/Download-PDF-Sheet-Music-mortezasaeidi-rad.htm About the piece Title: Doud-e-Oud overtour [In Nava] Arranger: Saeidi-Rad, Morteza Copyright: Copyright © Morteza Saeidi-Rad Publisher: Saeidi-Rad, Morteza Style: Blank sheet music Morteza Saeidi-Rad on free-scores.com This work is not Public Domain. You must • share your interpretation contact the artist for any use outside the • comment • contact the artist private area. Prohibited distribution on other website. First added the : 2017-02-02 Last update : 2017-02-02 01:32:58 Score Doud-e-Oud Nava in G P.Meshkatian M.Saeedi-Rad Andante ( ) Ney Tombak Daff Bendir Santoor I Santoor II Tar I Tar II Oud Tar Bass & Robab Kamanche I Div. Kamanche II Div. Kamanche Alto & Gheychak Alto Gheychak Bass © 2 Doud-e-Oud 7 Ney 7 Tom. 7 Daff 7 Bnd. 7 San. I San. II Tar I Tar II Oud T.B. R. 7 Kam I Kam II K.A. Gh.A. Gh.B. Doud-e-Oud 3 13 Ney -
A Look at the History of Instrumental Performance
Turkish Journal of Physiotherapy and Rehabilitation; 32(3) ISSN 2651-4451 | e-ISSN 2651-446X A LOOK AT THE HISTORY OF INSTRUMENTAL PERFORMANCE Haydarov Azizbek1, Talaboyev Azizjon2, Madaminov Siddiqjon3, Mamatov Jalolxon4 1,2,3,4Fergana Regional Branch of Uzbekistan State Institute of Arts and Culture [email protected], [email protected]. [email protected], [email protected] ABSTRACT This article tells about the emergence and development of Uzbek folk music and instrumental performance in Central Asia. There are many legends about the creation of musical instruments. One of such legends is cited by musicologist B.Matyokubov. According to the narrations, the instruments of Tanbur, Dutor, Nay, and Gijjak are the four angels may be due to their efforts, namely, the messenger angel Gabriel, the angel Michael who moves the world, the angel Isrofil who blows the trumpet in the Hereafter, and the angel of death in the body of Adam. According to musicians and craftsmen, they took mulberry wood from heaven to make instruments. From the above it can be concluded that our national instruments were formed before and during our era, and some of them still retain their appearance, albeit partially. Keywords: music, instrument, circle, tanbur, rubob, ud, melody. In the book of President Islam Karimov "High spirituality is an invincible force" The book proudly acknowledges the discovery of a bone flute along with gold and bronze objects in a woman's grave in the village of Muminabad near Samarkand, which has a unique musical culture in the Bronze Age. The circular circle-shaped instrument found in the Saymalitosh rock drawings on the Fergana mountain range and depicted among the participants of the ceremony is also believed to date back to the 2nd century BC.