DOCSLIB.ORG

On the History of Iranian Popular Music in Germany | Norient.Com 11 Oct 2021 17:06:21

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
On the History of Iranian Popular Music in Germany | Norient.Com 11 Oct 2021 17:06:21 On the History of Iranian Popular Music in Germany | norient.com 11 Oct 2021 17:06:21 On the History of Iranian Popular Music in Germany by Amin Hashemi In comparison to Los Angeles, there was never an Iranian «community» of popular musicians in Germany. Nevertheless, Iranian popular musicians and scholars debating popular music left their traces. In this overview, musicologist and anthropologist Amin Hashemi discusses the most important of these, and asks why some were more successful than others. Popular music in Iran, as it is known in the West, had one foot in the local and street music of the Centre and South of Tehran – as well as the surrounding Northern villages such as Tajrish – and the other foot in the consumption of Western popular music since the 1960s (Breyley and Fatemi 2016). The latter led to the formation of many TV talent shows, occasional and promotional performances, with their peak in the 1970s. After 1979, artists such as Leila Forouhar and Ebi, who immigrated to the U.S. between the 1980s and the 2000s, became the emerging stars of these shows (Breyley 2020). These artists gradually built an Iranian community of popular musicians in L.A., with their music known as losangelesi (Hemmasi 2011). The Musicians: On the Move https://norient.com/amin-hashemi/history-iranian-popular-music-germany Page 1 of 8 On the History of Iranian Popular Music in Germany | norient.com 11 Oct 2021 17:06:21 The most significant popular music show on national TV was The Silver Clove, hosted by Fereydoun Farrokhzad (Siamdoust 2017). Prior to 1979, Fereydoun started his career in pop music and the entertainment industry in Munich, before moving back to Iran (Mina 2021). Farrokhzad did not have a cultural interest in the U.S. Upon leaving Iran after 1979, he stayed in Los Angeles for a while, but soon returned to Bonn in Germany, where he had studied in his youth; he could not merge into the Iranian popular music community in L.A., although he had been a royalist (Abadi 2021). On August 8, 1992, Farrokhzad was found cruelly assassinated in his flat in Bonn. Most of the Iranian popular musicians of that generation moved to L.A.; the few exceptions in Europe were less active after the revolution. The best- known of them was Emad Raam, who was affiliated with the leftist antagonist political group opposing the Shah, People’s Mujahedin Organization of Iran. Emad lived near Cologne, in Düsseldorf, and died in 2003. Other examples of popular musicians in Europe are Aref Ebrahimpour, Seroj Gevorgharaghi, and Zavan Ohanian, who, before the revolution, played with stars such as Googoosh and Vigen in Iran. Jalal Hemmati – the celebrated koucheh-bazari (folk-street) singer – was also in Germany for years before moving to the U.S. There was never an Iranian «community» of popular musicians in Europe, in comparison to L.A. (Abadi 2021). The Scholars: Debating Popular Music Nonetheless, many Iranian popular musicians were in Germany mostly because they had studied there; they had access to exiled political communities that were banned in Iran after 1979 (mostly the leftists); and because of the Deutsche Welle Persian radio, first established in Cologne and then relocated to Bonn. Most of the Iranian musicians who resided in Germany belong to the category of art musicians (Mina 2021). So did many scholars. For instance, Mahmoud Khoshnam, who was in charge of the Roudaki Hall (center of Iranian ballet and opera) before 1979, as well as The Music Journal (Majalleh Mousighi), moved to Germany in 1980. So did his colleague Amirashraf Aryanpour – an Iranian musicologist who graduated from Vienna – and his wife Pari Samar, a celebrated soprano opera singer who performed in Iran, Germany, and Austria, among other countries. Khoshnam defended Iranian popular music, despite the «intellectuals» who dismissed it either as lowbrow art or as a symbol of capitalism. So did Farrokhzad. Both Khoshnam and Farrokhzad addressed the antagonism in contemporary Iranian culture too: an attitude of over-criticism, pessimism, incoherence, lack of communal belonging, double standards, and trickery. In other words, they exemplified that at some points, elitism and despotism have gone hand in hand in Iranian culture, regardless of political attitudes, in the name of «sublime» culture – whatever that might have meant. Khoshnam was active until his last days in 2020. https://norient.com/amin-hashemi/history-iranian-popular-music-germany Page 2 of 8 On the History of Iranian Popular Music in Germany | norient.com 11 Oct 2021 17:06:21 How to Become Successful in Europe? In general, Cologne and Bonn became the refuge for Iranian art musicians – whether they were classical Iranian artists or Western/contemporary classical artists. For instance, Majid Derakhshani and Yalda Ebtehaj, who were affiliated with Toudeh, the largest leftist antagonist party against the Shah, lived in Germany for decades and subsequently commuted between Tehran and Cologne. Sima Bina, a world-class folk singer and instrumentalist who could not perform solo in Iran after 1979, is in Cologne too. There are more of the younger generation in Bonn, such as Sepideh Raissadat, a classical Iranian musician (Mina 2021). While the L.A. community has been extremely productive, it has its own problems, such as being less inclusive in order to maintain a well-defined market with a certain taste (Naficy 1988, 1989). This becomes problematic when this community is held up as exemplary of Iranian popular music (Auliffe 2010). Restraining Iranian identity from infusion with other cultures, ideas, and perspectives – similar to what has been happening in musical practices inside Iran after 1979 – is against its nature (Amanat and Farzin 2012). This dynamism in identity explains the professional success and the cultural blending of musicians with Iranian heritage in Europe, who are less known as «Iranians» to the Iranian audience or the audience for Iranian music. They have merged much better with their hosts and their environment and have been less restrained by assertive cultural codes. → List of References Abadi, Eskandar. 2021. Personal Communication. Amanat, Abbas, and Farzin Vejdani. 2012. Iran Facing Others. New York: Palgrave Macmillan. Auliffe, Sarah. 2010. «Popular Music and Memory Construction in Iranian Diasporic Contexts». Journal of Music Research 35 (36): 59–76. (https://search.informit.org/doi/10.3316/informit.033640755326061). Breyley, Gay. 2010. «Hope, Fear and Dance Dance Dance: Popular Music in 1960s Iran». Musicology Australia 32: 203–26. (https://doi.org/10.1080/08145857.2010.518354). Breyley, Gay, and Sasan Fatemi. 2016. Iranian Music and Popular Entertainment from Motrebi to Losanjelesi and Beyond. Iranian Studies. New York: Routledge. Hemmasi, Farzaneh. 2011. «Iranian Popular Music in Los Angeles». In Muslim Rap, Halal Soaps, and Revolutionary Theater: Artistic Developments in the Muslim World, edited by Karin van Nieuwkerk. 85–111. Austin: University of Texas Press. Mina, Nima. 2021. Personal Communication. Naficy, Hamid. 1998. «Identity Politics and Iranian Exile Music Videos». Iranian Studies 31: 51–64. (https://doi.org/10.1080/00210869808701895). Naficy, Hamid. 1999. «The Making of Exile Cultures». In The Cultural Studies Reader, edited by Simon During. 537–63. New York: Routledge. Siamdoust, Nahid. 2017. Soundtrack of the Revolution. Stanford Studies in Middle Eastern and Islamic Societies and Cultures. Redwood City: Stanford University Press. https://norient.com/amin-hashemi/history-iranian-popular-music-germany Page 3 of 8 On the History of Iranian Popular Music in Germany | norient.com 11 Oct 2021 17:06:21 This text is part of the Norient Special «Klangteppich: Voices from the Iranian Diaspora and Beyond», published in the run-up to «Klangteppich. Festival for music of the Iranian diaspora». The Special was curated and edited by Franziska Buhre. The concert videos of its world premieres are published online on June 2, 2021 here. Klangteppich is funded by Musikfonds Neustart Kultur by means of the Federal Government Commissioner for Culture and the Media, GEMA, the Federal Agency for Civic Education, and the Department of Culture Steglitz-Zehlendorf. https://norient.com/amin-hashemi/history-iranian-popular-music-germany Page 4 of 8 On the History of Iranian Popular Music in Germany | norient.com 11 Oct 2021 17:06:21 https://norient.com/amin-hashemi/history-iranian-popular-music-germany Page 5 of 8 On the History of Iranian Popular Music in Germany | norient.com 11 Oct 2021 17:06:21 https://norient.com/amin-hashemi/history-iranian-popular-music-germany Page 6 of 8 On the History of Iranian Popular Music in Germany | norient.com 11 Oct 2021 17:06:21 → Published on May 20, 2021 → Last updated on May 20, 2021 Amin Hashemi (PhD, SOAS) is a professional interdisciplinary researcher in musicology, anthropology, post-structuralist psychoanalysis and discourse analysis. He focuses on the links between musical creativity and subjectivity, the regimes of truth, and the transformations of the paradigms. → Topics Diaspora Migration All Topics → Special Klangteppich → Snap https://norient.com/amin-hashemi/history-iranian-popular-music-germany Page 7 of 8 On the History of Iranian Popular Music in Germany | norient.com 11 Oct 2021 17:06:21 https://norient.com/amin-hashemi/history-iranian-popular-music-germany Page 8 of 8.
Load more

Recommended publications
  • Googoosh and Diasporic Nostalgia for the Pahlavi Modern
    Popular Music (2017) Volume 36/2. © Cambridge University Press 2017, pp. 157–177 doi:10.1017/S0261143017000113 Iran’s daughter and mother Iran: Googoosh and diasporic nostalgia for the Pahlavi modern FARZANEH HEMMASI University of Toronto Faculty of Music, 80 Queen's Park, Toronto, Ontario, M5S 2C5, Canada E-mail: [email protected] Abstract This article examines Googoosh, the reigning diva of Persian popular music, through an evaluation of diasporic Iranian discourse and artistic productions linking the vocalist to a feminized nation, its ‘victimisation’ in the revolution, and an attendant ‘nostalgia for the modern’ (Özyürek 2006) of pre-revolutionary Iran. Following analyses of diasporic media that project national drama and desire onto her persona, I then demonstrate how, since her departure from Iran in 2000, Googoosh has embraced her national metaphorization and produced new works that build on historical tropes link- ing nation, the erotic, and motherhood while capitalising on the nostalgia that surrounds her. A well-preserved blonde in her late fifties wearing a silvery-blue, décolletage-revealing dress looks deeply into the camera lens. A synthesised string section swells in the back- ground. Her carefully groomed brows furrow with pained emotion, her outstretched arms convey an exhausted supplication, and her voice almost breaks as she sings: Do not forget me I know that I am ruined You are hearing my cries IamIran,IamIran1 Since the 1979 establishment of the Islamic Republic of Iran, Iranian law has dictated that all women within the country’s borders must be veiled; women must also refrain from singing in public except under circumscribed conditions.
    [Show full text]
  • 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.
    [Show full text]
  • Print to Air.Indd
    [ABCDE] VOLUME 6, IssUE 1 F ro m P rin t to Air INSIDE TWP Launches The Format Special A Quiet Storm WTWP Clock Assignment: of Applause 8 9 13 Listen 20 November 21, 2006 © 2006 THE WASHINGTON POST COMPANY VOLUME 6, IssUE 1 An Integrated Curriculum For The Washington Post Newspaper In Education Program A Word about From Print to Air Lesson: The news media has the Individuals and U.S. media concerns are currently caught responsibility to provide citizens up with the latest means of communication — iPods, with information. The articles podcasts, MySpace and Facebook. Activities in this guide and activities in this guide assist focus on an early means of media communication — radio. students in answering the following Streaming, podcasting and satellite technology have kept questions. In what ways does radio a viable medium in contemporary society. providing news through print, broadcast and the Internet help The news peg for this guide is the establishment of citizens to be self-governing, better WTWP radio station by The Washington Post Company informed and engaged in the issues and Bonneville International. We include a wide array and events of their communities? of other stations and media that are engaged in utilizing In what ways is radio an important First Amendment guarantees of a free press. Radio is also means of conveying information to an important means of conveying information to citizens individuals in countries around the in widespread areas of the world. In the pages of The world? Washington Post we learn of the latest developments in technology, media personalities and the significance of radio Level: Mid to high in transmitting information and serving different audiences.
    [Show full text]
  • Social and Cultural Context Affecting the Activities of Women Painters of Pahlavi Era (1925-1978)
    Journal of Politics and Law; Vol. 9, No. 3; 2016 ISSN 1913-9047 E-ISSN 1913-9055 Published by Canadian Center of Science and Education Social and Cultural Context Affecting the Activities of Women Painters of Pahlavi Era (1925-1978) Azadeh Alipoor Heris1 & Abolghasem Dadvar1 1Art Faculty, Azzahra University, Tehran, Iran Correspondence: Azadeh Alipoor Heris, Art Faculty, Azzahra University, Tehran, Iran. E-mail: [email protected] Received: December 23, 2015 Accepted: April 2, 2016 Online Published: April 27, 2016 doi:10.5539/jpl.v9n3p1 URL: http://dx.doi.org/10.5539/jpl.v9n3p1 Abstract Different factors were affecting the presence of women during the Pahlavi era. In new structures after the constitutional period and along with the absolute modernism of Pahlavi, discourses changes were made based on democracy, socialism, Shia resistance and autonomy, court to government and political figures to people. During this period the role of women was formed on the basis of their social position and in their gender approach it changed from a <class in itself> to a <class for self>. The consequences of social contexts led to witness more active presence of women during Pahlavi era compared with the past periods particularly in the visual arts arena; so that the history of the Tehran galleries from 1953-1978 which reflects their activities during that time confirms this fact. The purpose of the present essay is to analyze the social contexts which have attracted women from margin to the center and attending to them since no study
    [Show full text]
  • Read the Introduction
    Farzaneh hemmasi TEHRANGELES DREAMING IRANIAN POP MUSIC IN SOUTHERN CALIFORNIA’S INTIMACY AND IMAGINATION TEHRANGELES DREAMING Farzaneh hemmasi TEHRANGELES DREAMING INTIMACY AND IMAGINATION IN SOUTHERN CALIFORNIA’S IRANIAN POP MUSIC Duke University Press · Durham and London · 2020 © 2020 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ∞ Designed by Matthew Tauch Typeset in Portrait Text Regular and Helvetica Neue Extended by Copperline Book Services Library of Congress Cataloging- in- Publication Data Names: Hemmasi, Farzaneh, [date] author. Title: Tehrangeles dreaming : intimacy and imagination in Southern California’s Iranian pop music / Farzaneh Hemmasi. Description: Durham : Duke University Press, 2020. | Includes bibliographical references and index. Identifiers:lccn 2019041096 (print) lccn 2019041097 (ebook) isbn 9781478007906 (hardcover) isbn 9781478008361 (paperback) isbn 9781478012009 (ebook) Subjects: lcsh: Iranians—California—Los Angeles—Music. | Popular music—California—Los Angeles—History and criticism. | Iranians—California—Los Angeles—Ethnic identity. | Iranian diaspora. | Popular music—Iran— History and criticism. | Music—Political aspects—Iran— History—20th century. Classification:lcc ml3477.8.l67 h46 2020 (print) | lcc ml3477.8.l67 (ebook) | ddc 781.63089/915507949—dc23 lc record available at https://lccn.loc.gov/2019041096 lc ebook record available at https://lccn.loc.gov/2019041097 Cover art: Downtown skyline, Los Angeles, California, c. 1990. gala Images Archive/Alamy Stock Photo. To my mother and father vi chapter One CONTENTS ix Acknowledgments 1 Introduction 38 1. The Capital of 6/8 67 2. Iranian Popular Music and History: Views from Tehrangeles 98 3. Expatriate Erotics, Homeland Moralities 122 4. Iran as a Singing Woman 153 5. A Nation in Recovery 186 Conclusion: Forty Years 201 Notes 223 References 235 Index ACKNOWLEDGMENTS There is no way to fully acknowledge the contributions of research interlocutors, mentors, colleagues, friends, and family members to this book, but I will try.
    [Show full text]
  • University of Florida Thesis Or Dissertation Formatting
    VOICES OF A REBELLIOUS GENERATION: CULTURAL AND POLITICAL RESISTANCE IN IRAN’S UNDERGROUND ROCK MUSIC By SHABNAM GOLI A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2014 © 2014 Shabnam Goli I dedicate this thesis to my soul mate, Alireza Pourreza, for his unconditional love and support. I owe this achievement to you. ACKNOWLEDGMENTS Completion of this thesis would not have been possible without the help and support of many people. I thank my committee chair, Dr. Larry Crook, for his continuous guidance and encouragement during these three years. I thank you for believing in me and giving me the possibility for growing intellectually and musically. I am very thankful to my committee member, Dr. Welson Tremura, who devoted numerous hours of endless assistance to my research. I thank you for mentoring me and dedicating your kind help and patience to my work. I also thank my professors at the University of Florida, Dr. Silvio dos Santos, Dr. Jennifer Smith, and Dr. Jennifer Thomas, who taught me how to think and how to prosper in my academic life. Furthermore, I express my sincere gratitude to all the informants who agreed to participate in several hours of online and telephone interviews despite all their difficulties, and generously shared their priceless knowledge and experience with me. I thank Alireza Pourreza, Aldoush Alpanian, Davood Ajir, Ali Baghfar, Maryam Asadi, Mana Neyestani, Arash Sobhani, ElectroqutE band members, Shahyar Kabiri, Hooman Ajdari, Arya Karnafi, Ebrahim Nabavi, and Babak Chaman Ara for all their assistance and support.
    [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]
  • Download (1MB)
    Trends in Contemporary Conscious Music in Iran Dr Malihe Maghazei LSE Middle East Centre Paper Series / 03 June 2014 Trends in Contemporary Conscious Music in Iran The views and opinions expressed in this publication are those of the author(s) and do not necessarily represent those of the London School of Economics and Political Science (LSE) or the Middle East Centre. This document is issued on the understanding that if any extract is used, the author(s) and the LSE Middle East Centre should be credited, preferably with the date of the publication. While every effort has been made to ensure the accuracy of the material in this paper, the author(s) and/or the LSE Middle East Centre will not be liable for any loss or damages incurred through the use of this paper. 2 Trends in Contemporary Conscious Music in Iran About the Author Originally from Iran, Dr Malihe Maghazei joined the LSE Middle East Centre as a Visiting Fellow in October 2012. She is a social historian of the Middle East who specialises in the contemporary history of Iran. She has taught history courses including World Civilization since the 16th century at California State University, Fullerton and Women in the Middle East at the University of California, Santa Barbara. Her research interests include gender and Islam, youth, culture, and intellectual movements in Iran. Dr Maghazei has researched various topics in both Persian and English including the dominant discourse of orientalism on Muslim women, the feminist movement in Iran and Iranian youth. Her publications include: ‘The Account of Creation in the Holy Scriptures: A Comparative Study between the Bible and the Qur’an’, Humanity, Tehran, 2010; ‘Islamic Feminism: Periphery or Growing Trend’, Groningen University, Centre for Gender Studies, 2012; and ‘Teens’ Life in Iran’ in Teen’s Life in the Middle East, Greenwood Press, 2003.
    [Show full text]
  • Final List of Delegations
    Supplément au Compte rendu provisoire (21 juin 2019) LISTE FINALE DES DÉLÉGATIONS Conférence internationale du Travail 108e session, Genève Supplement to the Provisional Record (21 June 2019) FINAL LIST OF DELEGATIONS International Labour Conference 108th Session, Geneva Suplemento de Actas Provisionales (21 de junio de 2019) LISTA FINAL DE DELEGACIONES Conferencia Internacional del Trabajo 108.ª reunión, Ginebra 2019 La liste des délégations est présentée sous une forme trilingue. Elle contient d’abord les délégations des Etats membres de l’Organisation représentées à la Conférence dans l’ordre alphabétique selon le nom en français des Etats. Figurent ensuite les représentants des observateurs, des organisations intergouvernementales et des organisations internationales non gouvernementales invitées à la Conférence. Les noms des pays ou des organisations sont donnés en français, en anglais et en espagnol. Toute autre information (titres et fonctions des participants) est indiquée dans une seule de ces langues: celle choisie par le pays ou l’organisation pour ses communications officielles avec l’OIT. Les noms, titres et qualités figurant dans la liste finale des délégations correspondent aux indications fournies dans les pouvoirs officiels reçus au jeudi 20 juin 2019 à 17H00. The list of delegations is presented in trilingual form. It contains the delegations of ILO member States represented at the Conference in the French alphabetical order, followed by the representatives of the observers, intergovernmental organizations and international non- governmental organizations invited to the Conference. The names of the countries and organizations are given in French, English and Spanish. Any other information (titles and functions of participants) is given in only one of these languages: the one chosen by the country or organization for their official communications with the ILO.
    [Show full text]
  • خواننده نام ترانه No. Singer Title شیطون بال عباس قادری 3494 Abbas
    خواننده نام ترانه No. Singer Title عباس قادری شیطون بل Abbas Ghaderi Sheytoon Bala 3494 افشین آتیش Afshin Atish 3139 افشین خانم خوشگله Afshin Khanoom Khoshgele 3359 افشین مقدم حقیقت Afshin Moghadam Haghighat 3307 آغاسی دختره خوشگل Aghasi Dokhtare Khoshgel 3234 عهدیه برات قر بدم Ahdieh Barat Gher Bedam 3160 علی دانیال تو مثل گلی Ali Danial To Mesle Goli 3517 اندی و کوروس دختر ایرونی Andy & Kouros Dokhtar Irouni 3230 عارف ای خدا، دنیا فقط دو روزه Aref Ey Khoda, Donya Faghat Do Rouze 3262 عارف کوچولو Aref Koochooloo 3374 بهزاد دنیا Behzad Donya 3237 بنیامین کجایه دنیای Benyamin Kojaye Donyay 3372 بتی آینه چشات Betti Aynehe Cheshat 3144 بتی زلیخا Betti Zoleikha 3550 بیژن مفید گل گندم Bijan Mofid Gole Gandom 3291 بیژن مرتضوی یه قطره دریا Bijan Mortazavi Ye Ghatreh Darya 3530 بیژن مرتضوی زندگی Bijan Mortazavi Zendegi 3540 بیتا سلم به پیری Bita Salam Be Piri 3471 بلک کتس دوست داشتنی Black Cats Doost Dashtani 3243 بلک کتس جینی Black Cats Jeannie 3337 بلک کتس جونه خودت Black Cats Jooneh Khodet 3339 داریوش به من نگو دوست دارم Dariush Be Man Nagoo Dooset Daram 3165 داریوش چشم من Dariush Cheshme Man 3195 داریوش کس نمیدانم Dariush Kass Nemidanam 3349 درویش جاویدان درویش Darvish Javidan Darvish 3204 داود بهبودی حال حالها Davoud Behboudi Hala Halaha 3310 دلکش آمدم Delkash Amadam 3117 دلکش و ویگن رقیب Delkash & Viguen Raghib 3458 یک فهمت بره بال E.K. Fahmet Bere Bala 3267 ابی قصه عشق Ebi Gheseh Ye Eshgh 3281 ابی کی اشکاتو پاک میکنه Ebi Kee Ashkato Pak Mikoneh 3350 ابی خانم گل Ebi Khanom Gol 3358 ابی کلبه من Ebi Kolbeh Ye Man 3373 ابی نازی ناز کن Ebi Nazi
    [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]
  • Fifth Avenue International Band Song List
    International Band Song List Top 40 Move Like Jagger- Maroon 5 We Found Love- Rihanna Only Girl- Rihanna Where Have you Been- Rihanna Treasure- Bruno Mars Locked Outta Heaven- Bruno Mars I Gotta Feelin- Black Eyed Peas Titanium- David Guetta and Sia Get Lucky- Daft Punk ft. Pharrell Williams Lucky- Jason Mraz Happy- Pharrell Williams Just Dance- Lady Gaga Bad Romance- Lady Gaga Crazy In Love – Beyonce & Jay Z Get The Party Started – Pink Need You Now- Lady Antebellum Set Fire To The Rain- Adele Trouble- Taylor Swift To Make You Feel My Love- Adele All Of Me- John Legend Counting Stars- OneRepublic All Time Dance Tunes Be With You – Enrique Iglesias Can’t Get You Out of my Head- Kylie Minogue Crazy – Gnarls Barkley Finally – CC Peniston Get Into The Groove – Madonna Holiday – Madonna I Like It Like That – Blackout All-stars I Turn to You- C Melanie Lady Marmalade – Christina, Mya, Pink, Lil’ Kim Let’s Get It Started – Black Eyed Peas Let’s Get Loud – Jennifer Lopez Since U Been Gone – Kelly Clarkson Smooth – Santana Something- Lasgo Sway with Me- Michael Buble Sweat (Everybody Dance Now) – C&C Music Factory This Is Your Night – Amber Vogue – Madonna Waiting For Tonight – Jennifer Lopez Ain’t Nobody – Chaka Kahn International Band Song List Ain’t No Stoppin’ Us Now – McFadden &Whitehead Bad Girls – Donna Summer Best Of My Love – The Emotions Boogie Oogie Oogie – A Taste of Honey Can’t Get Enough Of Your Love Babe – Barry White Can’t Take My Eyes Off of You – Frankie Valle/Lauren Hill Celebration- Kool & The Gang Dance To The Music – Sly & The Family Stone Dancing Queen – ABBA December 1963 (Oh What A Night) – Four Seasons Don’t Stop ’til You Get Enough – M.
    [Show full text]