DOCSLIB.ORG

Roya Arab Middle East in London Magazine Article (Jan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Roya Arab Middle East in London Magazine Article (Jan Volume 12 - Number 2 February – March 2016 £4 TTHISHIS ISSUEISSUE: PPERSIANERSIAN MUSICMUSIC ● SSoundingounding thethe citycity ● SStilltill singingsinging ● A ddiscursiveiscursive studystudy ofof musicmusic inin IranIran duringduring thethe 1960s1960s ● SShapinghaping thethe PersianPersian repertoirerepertoire ● TThehe iintroductionntroduction ofof pianopiano practicepractice inin IranIran ● MMusic,usic, IIslamslam aandnd PPersianersian SuSufi ssmm ● MMusicusic oonn thethe mmoveove iinn thethe MMiddleiddle EastEast ● SSwayingwaying toto PersianPersian andand MiddleMiddle EasternEastern tunestunes inin LondonLondon ● PPLUSLUS RReviewseviews andand eventsevents inin LondonLondon Volume 12 - Number 2 February – March 2016 £4 TTHISHIS ISSUEISSUE: PPERSIANERSIAN MMUSICUSIC ● SSoundingounding tthehe ccityity ● SStilltill ssinginginging ● A ddiscursiveiscursive studystudy ooff mmusicusic iinn IIranran duringduring tthehe 11960s960s ● SShapinghaping tthehe PPersianersian rrepertoireepertoire ● TThehe iintroductionntroduction ooff ppianoiano ppracticeractice iinn IIranran ● MMusic,usic, IIslamslam aandnd PPersianersian SSuufi ssmm ● MMusicusic oonn tthehe mmoveove iinn tthehe MMiddleiddle EastEast ● SSwayingwaying ttoo PPersianersian andand MMiddleiddle EasternEastern ttunesunes iinn LondonLondon ● PPLUSLUS RReviewseviews aandnd eeventsvents inin LLondonondon Aida Foroutan, 'Protest', 2002. No. 14 of a series of 28 paintings called Women's Life, About the London Middle East Institute (LMEI) 2001-2015. Oil on canvas. 80 x 80 cm. Image courtesy of the artist Th e London Middle East Institute (LMEI) draws upon the resources of London and SOAS to provide teaching, training, research, publication, consultancy, outreach and other services related to the Middle Volume 12 - Number 2 East. It serves as a neutral forum for Middle East studies broadly defi ned and helps to create links between individuals and institutions with academic, commercial, diplomatic, media or other specialisations. February – March 2016 With its own professional staff of Middle East experts, the LMEI is further strengthened by its academic Editorial Board membership – the largest concentration of Middle East expertise in any institution in Europe. Th e LMEI also Professor Nadje Al-Ali has access to the SOAS Library, which houses over 150,000 volumes dealing with all aspects of the Middle SOAS East. LMEI’s Advisory Council is the driving force behind the Institute’s fundraising programme, for which Dr Hadi Enayat it takes primary responsibility. It seeks support for the LMEI generally and for specifi c components of its AKU programme of activities. Ms Narguess Farzad SOAS LMEI is a Registered Charity in the UK wholly owned by SOAS, University of London (Charity Mrs Nevsal Hughes Registration Number: 1103017). Association of European Journalists Professor George Joff é Cambridge University Mission Statement: Ms Janet Rady Janet Rady Fine Art Mr Barnaby Rogerson Th e aim of the LMEI, through education and research, is to promote knowledge of all aspects of the Middle Ms Sarah Searight East including its complexities, problems, achievements and assets, both among the general public and with British Foundation for the Study those who have a special interest in the region. In this task it builds on two essential assets. First, it is based in of Arabia London, a city which has unrivalled contemporary and historical connections and communications with the Dr Sarah Stewart SOAS Middle East including political, social, cultural, commercial and educational aspects. Secondly, the LMEI is Dr Shelagh Weir at SOAS, the only tertiary educational institution in the world whose explicit purpose is to provide education Independent Researcher and scholarship on the whole Middle East from prehistory until today. Professor Sami Zubaida Birkbeck College Coordinating Editor Megan Wang LMEI Staff: SSubscriptions:ubscriptions: Listings Vincenzo Paci Director Dr Hassan Hakimian To subscribe to Th e Middle East in London, please visit: Designer Executive Offi cer Louise Hosking www.soas.ac.uk/lmei/affi liation/ or contact the Shahla Geramipour Events and Magazine Coordinator Vincenzo Paci LMEI offi ce. Administrative Assistant Aki Elborzi Th e Middle East in London is published fi ve times a year by the London Middle Letters to the Editor: East Institute at SOAS Publisher and Please send your letters to the editor at Editorial Offi ce Disclaimer: the LMEI address provided (see left panel) Th e London Middle East Institute or email [email protected] SOAS Opinions and views expressed in the Middle East University of London MBI Al Jaber Building in London are, unless otherwise stated, personal 21 Russell Square views of authors and do not refl ect the views of their London WC1B 5EA United Kingdom organisations nor those of the LMEI and the MEL's T: +44 (0)20 7898 4330 Editorial Board. Although all advertising in the E: [email protected] magazine is carefully vetted prior to publication, the www.soas.ac.uk/lmei/ LMEI does not accept responsibility for the accuracy ISSN 1743-7598 of claims made by advertisers. Contents LMEI Board of Trustees 4 19 Baroness Valerie Amos (Chair) EDITORIAL Swaying to Persian and Middle Director, SOAS Eastern tunes in London Professor Richard Black, SOAS Dr John Curtis 5 Roya Arab Iran Heritage Foundation INSIGHT Dr Nelida Fuccaro, SOAS Sounding the city: Tehran’s 21 Mr Alan Jenkins contemporary soundscapes REVIEWS Dr Karima Laachir, SOAS Laudan Nooshin CD Dr Dina Matar, SOAS Rhapsody of Roses: Persian Dr Hanan Morsy European Bank for Reconstruction 7 Classical Music from the 1950s and Development Dr Barbara Zollner PERSIAN MUSIC Pejman Akbarzadeh Birkbeck College Still singing: female singers in contemporary Iran 22 LMEI Advisory Council Parmis Mozafari BOOKS Iranian Classical Music: Th e Lady Barbara Judge (Chair) 9 Discourses and Practice of Professor Muhammad A. S. Abdel Haleem H E Khalid Al-Duwaisan GVCO A discursive study of music in Creativity Ambassador, Embassy of the State of Kuwait Iran during the 1960s Stefan Williamson Fa Mrs Haifa Al Kaylani Arab International Women’s Forum Mohammadamin Hashemi Dr Khalid Bin Mohammed Al Khalifa 23 President, University College of Bahrain Professor Tony Allan 11 BOOKS IN BRIEF King’s College and SOAS Shaping the Persian repertoire Dr Alanoud Alsharekh Senior Fellow for Regional Politics, IISS Houman M. Sarshar 26 Mr Farad Azima IN MEMORIAM NetScientifi c Plc Homa Nategh (1934-2016) Dr Noel Brehony 13 MENAS Associates Ltd. Th e introduction of piano Touraj Atabaki and Nasser Professor Magdy Ishak Hanna British Egyptian Society practice in Iran Mohajer HE Mr Mazen Kemal Homoud Maryam Farshadfar Ambassador, Embassy of the Hashemite Kingdom of Jordan 27 Mr Paul Smith Chairman, Eversheds International 15 Khodadad Farmanfarmaian Music, Islam and Persian (1928-2015) Founding Patron and Donor of the LMEI Sufi sm Ramin Nassehi Sheikh Mohamed Bin Issa Al Jaber Terry Graham MBI Al Jaber Foundation 28 17 EVENTS IN LONDON Music on the move in the Middle East Ilana Webster-Kogen February – March 2016 The Middle East in London 3 PPERSIANERSIAN MMUSICUSIC Roya Arab gives a brief tour of the Persian and Middle Eastern music scene in London SSwayingwaying ttoo PPersianersian aandnd MMiddleiddle EEasternastern ttunesunes iinn LLondonondon © Public Domain Hossein Alizadeh in concert with Hamavayan Ensemble London, November 8, 2015. Courtesy of Fariborz Kiani, Nava Arts UK ondon has a thriving live music scene, For Persian and Middle Eastern music something going on musically in London. and Persian and Middle Eastern music London accommodates both classical Th e annual Nour Festival has a cornucopia Lis not left out: it is facilitated by a host and modern, young and old, although in of the region’s cultural off erings which of musical venues and festivals spread across my humble opinion not all with the same are presented at various venues across the city, various societies, institutions and frequency or indeed quality. A cursory Kensington and Chelsea, whilst Shubbak concert organisers. Together they serve overview on the Internet of musical events shares Arab culture biennially across an international audience living, visiting that took place across London since the start London. and studying in London. A major part of 2015 shows the wide range in age, styles When looking at the creation, is played by the educational institutions and venues used for musical events. From performance and consumption of teaching, disseminating and providing a many restaurants with popular Persian Persian and Middle Eastern music, one performance platform, such as SOAS which and Middle Eastern music to smaller gig must also consider the impact from the acts as a major venue for visiting artists and venues and large concert halls sharing unprecedented spread of people from students to perform, as well as other ethno- popular and classical music, there is always these regions in the modern world, musicological courses being taught across London (at City University, Goldsmiths, Th e exponential growth of diaspora communities over Kings College and Royal Holloway) which also play their part in spreading the region’s the past 40 years has created a mélange of artistic music. styles, manners, forms and expressions February – March 2016 The Middle East in London 19 with an exponential growth of diaspora Across London in any given month Persian and communities over the past 40 years. A survey of demographics looking at Iranian Middle Eastern music is performed by native
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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 ».
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • No. 107/January & February 2007
    No. 107/January & February 2007 2 107 Editorial By: Shahri Estakhry Persian Cultural Center’s Newsletter Is a Bi – Monthly Publication Organized for A New Year Gift … literary, Cultural and information purposes Partially Funded By The Commission for Arts and Culture 2007… a New Year is upon us! Where do the years go and why are they going so fast? Persian Cultural Center It seems the older we get the faster the years go by. I still have so much to accomplish 9265 Dowdy Dr. # 105• San Diego, CA 92126 on my 2006 “To Do List” that thinking of how to catch up exhausts me. Tel :( 858)653-0336 Fax & Message (619)374-7335 Email: [email protected] Looking back at the past year brings mixed feelings of joy and sadness…things Web site: www.pccsd.org accomplished and those still hanging in the air…this and that...here and there…lessons www.pccus.org learned and forgotten, and so forth. I was thinking of what to write for this editorial and January & February 2007 then came an email from a cousin of mine in Shiraz that I wanted to share with all of you Vol.XV No. 107 as, “A New Year Gift.” It put my thoughts and how I have been feeling in perspective. Circulation: 6000 The author of the following is unknown, but here it is: Persian Cultural Center A Non- Profit Corporation Established in 1989. San Diego, California We convince ourselves that life will be better once we are married, have a baby, Board of Directors: then another.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]