Rameshgari: Pursuing Collaborative Tasnif- Composition*
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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. -
Mohammad-Reza Lotfi M
Mohammad-Reza Lotfi M. R. Lotfi taught and performed Persian classical music for the Center for World Music in 1998. Renowned for his mastery of Persian traditional music, he made numerous recordings, both as a solo artist and in collaboration with celebrated Iranian musicians such as Mohammad-Reza Shajarian, Shahram Nazeri, Hossein Alizadeh, and Parviz Meshkatian. Lotfi was one of the greatest contemporary masters of the tar and setar. He was among the major figures who, over a span of twenty years, revolutionized Persian traditional music. His innovative approach of combining classical and folk elements injected new vitality into an old tradition. Indeed, the original creativity and the deep-rooted emotional quality of his playing secured his position as the “father of a new aesthetic” in Persian music. Encouraged by his older brother, Lotfi learned to play the tar and demonstrated his extraordinary talent by winning the first prize in Iran's Young Musicians Festival in 1964. The following year, he began his studies at the Persian National Music Conservatory in Tehran under Habibollah Salehi and Master Ali Akbar Shahnazi. He also served as a tar player for the Fine Arts Administration Orchestra (Saba Orchestra) under the direction of Hossein Dehlavi. Two other eminent teachers of his were Abdollah Davami, from whom he learned the classical Persian music repertoire (radif), and Master Sa'id Hormozi, who taught him to play the setar. While attending the College of Fine Arts at Tehran University, Lotfi became a student of Master Nour-Ali Boroumand. He also worked at the Center for the Preservation and Propagation of Traditional Persian Music, both as a soloist and as a conductor. -
Persian Musicians Directory
Version 9.0 Dec. 2015 PERSIAN MUSICIANS DIRECTORY A B C D E F G H I J K L M N O P Q R S T U V W X Y Z AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA Abbas Nia [Muhammad] traditional Dosazeh ( twin reed pipe) player of the khorasani repertoire (Kashmar) in the 1990’s. Abaei [Reza] Gheychak player. Cooperated with Payvar ensemble, Davod Varzideh (ney) and Mohammad Delnavazi (barbat),. Abdollahi “Sangdehi” [Parviz] Sorna, qarneh player from Mazandaran. Revivalist of Qarneh pipe with Lotfollah Seyfi. “ Date of Birth: 01 Persian date Farvardin 1354/1975. In 1364/1985, his father started the construction Laleva make additional Nmvd.dvrh with ust. Tibi spent on master tapes and music theory with Professor Ismaili came to a Lotfollah Seifi. Beloved, now led by the instrumental group and the group headed by Professor MohsenPour Shavash's activities. Shahrivar 79 (1999) First Prize as the top player of century-festival performers His numerous groups in the province and outside the province and work, including: Group Najma, Sama, Varesh, eager faith, Taraneh, Mah Teti, Roja, traditional Varshan, Shavash group that is a member for 8 years and has continued his association with other groups. For 8 years of playing in groups of Teti, Khojier, Shvash, Ouya, Najma, Varesh, Teti Jar, Mahal Roja, Taraneh, , Kordu Shahu traditional Varshan and research group Samaei Alborz activity and continued some of the works of three Czech, …” (Mehrava.com) Abidini [Hosein] traditional singer of the khorasani repertoire (Kashmar, Torbat e heidriyeh). Cooperated with dotar player Hosein Hadidian (dotar). Abshuri [Ali] traditional Sorna shawm player, kurdish –Kurmanji repertoire of the kurdish from North Khorasan in the 1990’s . -
Festival of Arts Shiraz-Persepolis1 OR You Better Believe in As Many As Six Impossible Things Before Breakfast
Festival of Arts Shiraz-Persepolis1 OR You better believe in as many as six impossible things before breakfast By Mahasti Afshar 1st Shiraz Arts 2 Festival 1967 OVERVIEW Poster design: Kamran he Shiraz-Persepolis Festival of Arts was an Katouzian Tinternational festival held in Iran every summer for eleven years, 1967-1977. Jashn-e Honar-e Shiraz as it was popularly known in Persian was an inspired and feverish exploration, experimentation and creative conversation between Iran and the outside world that unfolded primarily through music, drama, dance and film. The programs started at 10 a.m. every day and th 11 Festival 1977 ended at 1 or 2 a.m. the next, staggered across ancient, Poster design: Qobad Shiva medieval and modern venues, some natural, some formal, others makeshift, in Shiraz, or forty miles northeast at the Achaemenid ruins of Persepolis and Naqsh-e Rostam. True to its mission, the festival’s ecosystem cut across time and other boundaries, refreshing the traditional, celebrating the classical, nurturing the experimental, and stimulating a dialogue across generations, cultures, and languages, East and West, North and South. CONTENTS 1 The official English title in festival catalogues published annually, 1967-1977. OVERVIEW 1 2 The primary sources in print consulted for this report are Festival catalogues, bulletins, program notes, 1967-1977, and Tamasha magazine, 1971-1977. PROGRAMS 7 Reza Ghotbi, Sheherazade Afshar, and Arby Ovanessian who have in-depth, firsthand knowledge of the festival 1. MUSIC .......................................... 7 provided the bulk of the information cited in this report. Parviz Sayyad and Mohammad-Baqer Ghaffari provided input on ta’ziyeh. -
Festival of Arts, Shiraz-Persepolis, 1967-1977
Festival of Arts, Shiraz-Persepolis, 1967-1977 Mahasti Afshar Independent Scholar The Shiraz-Persepolis Festival of Arts was an international festival held in Iran every summer from 1967-1977. Jashn-e Honar-e Shiraz, as it was popularly known in Persian, was an inspired and feverish exploration, experimentation and creative conversation between Iran and the outside world that unfolded primarily through music, drama, dance and film. Presented in Shiraz, or forty miles northeast at the Achaemenid ruins of Persepolis and Naqsh-e Rostam, the programs started at 10 a.m. every day and concluded at 1 or 2 a.m. the next, staggered across ancient, medieval and modern venues, some natu- ral, some formal, others makeshift. True to its mission, the festival’s ecosystem cut across time and other boundaries, refreshing the tradi- tional, celebrating the classical, nurturing the experimental, and stim- ulating a dialogue across generations, cultures, and languages, East and West, North and South. Mahasti Afshar <[email protected]> studied drama, classical music and film produc- tion for television in London (BBC) and Paris (ORTF), and while on staff at NITV/NIRT, recorded live performances at the Shiraz Arts Festival for later broadcasting on TV. She earned a PhD in Sanskrit and Indo-European Folklore and Mythology (Harvard 1988) and taught at Tehran University and UCLA before pursuing a career as a nonprofit executive at the Getty Conservation Institute, the Los Angeles Philharmonic, and National Geographic. She has published books and produced museum exhibitions and video documentaries on the cultural heritage of Africa, Asia, Australia, Europe, Central and South America, and on the landmarks of a new generation in the U.S.A. -
February 11, 2017 Musikwissenschaftliches Institut, Universität Zu Köln Musiksaal (Hauptgebäude)
EVENT AND CONCERT Iranian Women Musicians in Transcultural Dialogue FEBRUARY 11, 2017 MUSIKWISSENSCHAFTLICHES INSTITUT, UNIVERSITÄT ZU KÖLN MUSIKSAAL (HAUPTGEBÄUDE) ABOUT THE EVENT: Since the 1979 Islamic Revolution, Iran’s cultural life and music have been strictly regulated. In the process women have been banned from singing solo in public and, as a result, many female vocalists have left the country. This has had a substantial impact on the transmission and cultivation of Iran’s cultural heritage. Today the situation is slowly changing and a number of young female musicians are increasingly active in music performance and singing. Female Voice of Iran showcases Iran’s rich musical culture and offers a forum for guest musicians and the audience to discuss the role of women as agents of change in Iranian society. PROGRAM 15:00-15:30 Yalda Yazdani: “Female Voice of Iran: The Role of Women in Music in Revolutionary Iran” (Introduction lecture and presentation of guest musicians) 15:30-16:00 Screening of “Female Voice of Iran”, a video essay by Yalda Yazdani and Andreas Rocholl, with Cymin Samawatie, Haleh Seyfizadeh and others (Kadmos Film Production 2016). 16:00-16:15 Sepideh Raissadat: “An Introduction to the Lives of Iranian Female Singers in the Public and Private Spheres” (Lecture) 16:15-17:00 Discussion Forum with Yalda Yazdani, guest musicians Cymin Samawatie, Haleh Seyfizadeh, Sepideh Raissadat, Rouzebh Motia, Ralf Schwarz, and the audience. 17:00- 17:15 Break 17:30-18:30 Live Music Performances Duet: Cymin Samawatie, Vocalist and Ralf Schwarz, Contrabass Duet: Haleh Seyfizadeh, Vocalist and Rouzbeh Motia, Santur Solo Performance: Sepideh Raissadat, Voice and Setar Improvisation group performance: Cymin Samawatie, Ralf Schwarz, Haleh Seyfizadeh and Rouzbeh Motia PARTICIPATION IN THE EVENT IS FREE OF CHARGE, NO REGISTRATION IS NECESSARY. -
Masters of Persian Music
CAL PERFORMANCES PRESENTS TEXTS Saturday, February 13, 2010, 8pm Hengam ke Gerye midahad saz Zellerbach Hall Poet: Nima Youshij Translators: Philip Grant & Shervin Emami Masters of Persian Music As the instrument weeps This smoke that is the character of the cloud behind it Three Generations As the indigo of the sea’s eye Out of anger the fist strikes a face Hossein Alizadeh shour angiz, tar From that late journey that left me Kayhan Kalhor kamancheh, five-string kamancheh That gave the woman’s flirtatious glance and the instrument’s coquetry Hamid Reza Nourbakhsh vocals I have on familiar pretexts Fariborz Azizi bass tar Captured an image of her But what weeping, what storm? Siamak Jahangiry nay Silence is a night everywhere alone Pezhham Akhavass tombak A man on the road plays the nay Hamidreza Maleki santour And its voice rises dejected I am another one alone, whose eyes PROGRAM Stir up a storm of tears As the instrument weeps Instrumental improvisation Hossein Alizadeh, shour angiz This smoke that is the character of the cloud behind it Kayhan Kalhor, five-string kamancheh As the indigo of the sea’s eye Out of anger the fist strikes a face. INTERMISSION Sobh-daman Hengam ke Gerye midahad saz† (tasneef ) Poem by Nima Youshij Poet: Shafi‘i Kadkani nay solo Translators: Philip Grant & Shervin Emami This piece is dedicated to the memory of the renowned Iranian composer and santour player, Caspian waves from the corner clad in black Parviz Meshkatian (1954–2009). The wounded thicket and the plants, all are silent. Look! Those dark blue garments, horizon of the fierce morning, Sobh-daman† (tasneef ) Poem by Shafi‘i Kadkani Are the soul of the garden, that from this corner are clad in black. -
Festival of Arts Shiraz-Persepolis1 OR You Better Believe in As Many As Six Impossible Things Before Breakfast
Updated and illustrated version of a paper originally commissioned by the Asia Society for The Shiraz Arts Festival: A Global Vision Revisited, a symposium held in New York on October 5, 2013. Festival of Arts Shiraz-Persepolis1 OR You better believe in as many as six impossible things before breakfast By Mahasti Afshar OVERVIEW2 1st Shiraz Arts he Shiraz-Persepolis Festival of Arts was an international Festival poster 1967 Tfestival held in Iran every summer for eleven years, 1967-1977. Jashn-e Honar-e Shiraz as it was popularly known in Persian was an inspired and feverish exploration, experimentation and creative conversation between Iran and the outside world that unfolded primarily through music, drama, dance and film. The programs started at 10 a.m. every day and ended at 1 or 2 a.m. the next, staggered across ancient, medieval and modern venues, some natural, some formal, others makeshift, in Shiraz, or forty miles 11th Festival 1977 Poster design: northeast at the Achaemenid ruins of Persepolis and Naqsh-e Qobad Shiva Rostam. True to its mission, the festival’s ecosystem cut across time and other boundaries, refreshing the traditional, celebrating the classical, nurturing the experimental, and stimulating a dialogue across generations, cultures, and languages, East and West, North and South. 1 The official English title in festival catalogues published annually, 1967-1977. CONTENTS 2 The primary printed sources for content and images for this report include the Shiraz Festival OVERVIEW catalogues, bulletins, program notes, and Tamasha Magazine, 1967-1977. Supplemental data were provided by individuals with firsthand knowledge of the Festival, Reza Ghotbi, Sheherazade PROGRAMS Afshar, Bijan Saffari, and Arby Ovanessian, as well as Parviz Sayyad and Mohammad-Baqer Ghaffari. -
André Hossein’S Piano Concerti with the Salford Symphony Orchestra at St Paul’S Church on 20 March 2016
Shafiei, Kiana (2018) Intertextual perspectives on interpretation: a study of three Iranian composers’ piano works in the context of Persian music. Doc- toral thesis (PhD), Manchester Metropolitan University and The Royal North- ern College of Music. Downloaded from: https://e-space.mmu.ac.uk/621996/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk INTERTEXTUAL PERSPECTIVES ON INTERPRETATION: A STUDY OF THREE IRANIAN COMPOSERS’ PIANO WORKS IN THE CONTEXT OF PERSIAN MUSIC KIANA SHAFIEI A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy Royal Northern College of Music and Manchester Metropolitan University April 2018 Contents ___________________________ Page Abstract _______________________________________________ 1 Acknowledgements _________________________________________ 2 List of Figures _______________________________________________ 4 List of Audio Tracks _________________________________________ 8 List of Graphs _______________________________________________ 14 List of Tables _______________________________________________ 15 Performance Portfolio _________________________________________ 16 Introduction _______________________________________________ 18 Part One: Critical Review of Theories & Methodologies Analysis and Performance ______________________ 34 Intertextuality __________________________________ 42 Part Two: References to Persian Music -
A Historical Overview of Iranian Music Pedagogy
australiaa n societ s y fo r mumsic education e A historical overview of Iranian i ncorporated music pedagogy (1905-2014) Arya Bastaninezhad Tehran Music School, Iran; Monash University, Australia Abstract This article examines the recent developments and changes concerning Iranian music education from the constitutional revolution of 1905 to 2014. This concentrates on the five major chronological events referred to as Nationalism, Modernism, Conservatism, Neo-Traditionalism (Shirin-navazi) and Revivalism of the Traditions. This provides a source of basic information necessary for better understanding of the current challenges confronting research into Iranian music education. Key words: Iranian music education; Iranian instrumental music teaching; pedagogical trends. Australian Journal of Music Education 2014:2,5-22 Introduction The gap in the existing literature To understand recent developments concerning Despite the need for a comprehensive Iranian music education in the twentieth century, investigation into Iranian instrumental music a social, cultural and musical overview of the pedagogy, there has been a dearth of literature past is necessary. This research investigates the that focus on vocal and instrumental pedagogy development of Iranian instrumental music (Farhat, 1998). Most of the literature pertaining teaching and learning from the pre-revolutionary to Iranian music education, such as the Gharavi period, specifically the Iranian constitutional (1979), although providing useful information, revolution (1905), to the present (2014). It generally concentrates on a specific period discusses the five main chronological trends: of time, such as the Pahlavi era (1925-1979), Nationalism, Modernism, Conservatism, Neo- and does not make pedagogical connections Traditionalism (Shirin-navazi) and Revivalism between the key historical events and their of the Traditions.