DOCSLIB.ORG

A Legendary Supernatural Bird in Persian Literature

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Legendary Supernatural Bird in Persian Literature A legendary supernatural bird in Persian literature Oiseau fabuleux de la légende iranienne „Schahname“ Ferdowsi’s poetic opus, the Shahnameh, is not only one of the most extraordinary works in Persian literature – it ranks among the masterpieces of the world’s literary treasures. In sheer magnitude, with over fifty thousand verses, our national epic comprises more than twice the number of verses of Homer’s Odyssey and Iliad and twenty times more than the German Le Livre des rois (Shâhnâmeh) de Ferdowsi- poète épique persan de la fin du Xème siècle- n’est pas seulement le plus epic, Nibelungensage. The Shahnameh is indeed unequalled as a literary work. important monument de la littérature persane, mais aussi un des chefs d’œuvre de la littérature mondiale. Cette épopée composée de cinquante mille distiques brossant une fresque mythologique où protohistoire et histoire se succèdent dans un And if we look at other Persian poets who have explored the themes of love, despair, envy and zeal, we find that while Fer- même souffle épique, contient deux fois plus de distiques que l’épopée d’Homère, l’Iliade et l’ Odyssée, et vingt fois plus dowsi deals with the same themes, he also unveils the science of Iranian epic history and legends and leads the reader deep que l’épopée allemande Nibelungen. into the spirit of his characters, probing a vast array of human feeling. He carries the reader with him to the battlefields and Parallèlement aux richesses du nombre de distiques et de notions comme l’amour, la nostalgie, l’enthousiasme, le Shâh- the feasts. He paints these scenes masterfully, giving the stories vibrant, tangible expression for his readers. The difficulty of nâmeh illustre des scènes des contes mythiques de l’Iran antique et ramène le lecteur au coeur de l’histoire de ses héros, de using musical narration to portray Ferdowsi’s epic stories lies herein. leurs champs de batailles et de leurs scènes de plaisirs, d’où la difficulté d’une version musicale de ces contes. La musique est l’art de transmettre des concepts comme l’amour, la haine, la nostalgie, mais quand il s’agit de raconter une scène Simorq, the story of the birth and growing up of Zaal and his love for Roodabeh, the daughter of King Mehrab of Kabal, is vivante, alors la version musicale rencontre des difficultés. one of the most beautiful and, in structural terms, complete facets of the Shahnameh. L’orchestration dans la musique iranienne ne date pas de très longtemps et les oeuvres d’orchestration sont très rares. In this story, Ferdowsi has interwoven human preoccupations with luck, fate and destiny, greed, fear and disgrace with the Pour créer une oeuvre d’après un texte tel que le Shâhnâmeh, le musicien a besoin d’un ensemble de différents thèmes et need and desire for fame and love, under the canopy of the epic story. The story of Simorq, apart from its literary beauty, is mélodies et d’une polyphonie de plusieurs airs. Ce sont justement ces complications qui ont empêché les musiciens iraniens also informed by an inner music. de présenter une version musicale de cette immense oeuvre. Simorq, dont l’histoire raconte la naissance et la croissance de Zâl, l’enfant albinos dont l’oiseau devient la nourrice, est l’une des plus belles et des plus complexes des histoires du Shâhnâmeh. Dans cette histoire, Ferdowsi aborde, dans un souffle Eine musikalische Interpretation des iranischen épique, des thèmes comme la destinée, la peur, la malédiction et surtout l’amour. Nationalepos „Schahname“ Ferdowsis Schahname ist nicht nur eines der berühmtesten Meisterwerke der persischen Lyrik, sondern auch eines der größten der Weltliteratur. So ist der über fünfzigtausend Verse umfassende Nationalepos Irans doppelt so groß wie Homers Epen und zwanzigmal umfangreicher als das Nibelungenlied. Dies ist jedoch nicht alles, was Schahname so einzigartig macht. Während sich die Werke anderer persischsprachiger Dichter hauptsächlich mit abstrakten Inhalten des menschlichen Wesens wie Liebe, Anmut und Sehnsucht befassen, geht Ferdowsi einen Schritt weiter; er nimmt den Leser nicht nur mit in die tiefsten Punkte und verborgernsten Ecken der Seele seiner Helden, sondern führt sie auch mitten hinein in mystische Schlachten und Festivitäten, welche dem Leser wie lebendige und lebhafte Szenerien erscheinen. „Simorq“ handelt von Sam, einer Urgestalt des iranischen Heldentums, von seinem aufgrund seines Aussehens verstoßenen Sohnes Zaal, von Simorq, der den neugeborenen Prinzen in seine Obhut nimmt und schließlich von der leidenschaftlichen und feurigen Liebe des tot geglaubten jedoch zurückgekehrten Prinzen zu Roodabe, Tochter eines Königs, dessen Vorfahren zu den Größten Feinden Irans zählten. Somit ist diese Sage einer der schönsten und zugleich strukturell Kompliziertesten Teile Schahnames, in dem Ferdowsi Liebe, Hass, Glück, Schicksal, Ruf, Verruf und insbesondere die ewige Sehnsucht des Menschen nach dem Unerreichbaren gleichermaßen in Szene setzt. 2 www.simorq.org www.simorq.org 3 Hamid Motebassem Homayoun Shajarian Composer and Tar & Setar Player Singer (Soloist) Hamid Motebassem was born in 1958 in Mashad, Iran. is a Persian classical music vocalist, as well as a Tombak and Kamancheh He was raised in a musical family, where his brother was a violinist and player. He was born (21 May 1975) in Tehran in a music-dedicated family. his first teacher was his father, Ali Motebassem who played the Tar. His He is the son of Mohammad Reza Shajarian, who is in turn the grand subsequent teachers included the masters Habiballah Salehi, Zeydallah master vocalist of traditional Persian music. Toloie, Houshang Zarif, Hossein Alizadeh and Mohammad Reza Lotfi. He began studying knowledge of technique and rhythm under Motebassem studied in the Tehran School of Art and the Conservatory of supervision of Nasser Farhangfar, master of Tombak, at the age of five. Persian Music. He was a member of the Chavosh Cultural Center where he Afterwards, he also continued learning Tombak under Jamshid Mohebbi’s taught music. One of the original members of Aref Ensemble, he founded supervision. Dastan Ensemble as well as Ensemble Chakavak, Mezrab & Pardis upon immigration to Germany in 1986. Hamid Motebassem is the founder of He commenced learning Persian traditional vocal Avaz under father’s su- the Society of Tar and Setar and has since 1994 organized annual semi- pervision and gained knowledge of Avaz techniques and voice-producing. nars dedicated to the two instruments. He has performed on numerous albums of contemporary Iranian compos- Simultaneously, he attended Tehran Conservatory of Music and chose ers as well as on all the released works of Dastan Ensemble since 1992. Kamancheh as his professional instrument as well as being tutored by Ardeshir Kamkar. He joined Ava Music Ensemble in 1991. He accompanied Discography: father, Hossein Alizadeh and Keyhan Kalhor in concerts of Ava Music • Bamdad • Gol-e Behesht Ensemble, playing Tombak. • The Scent of Norooz • Maah Aroos Discography: • The Song of the Sea • LoolianQeijak-e Koli • Nasim-e Wasl • Naghsh-e khyal • Saz-e No, Avaz-e No • Be Nam-e Gol-e Sorkh • Na-shakiba • Khorshid-e Arezou • Dastan Trio • Shurideh (Winner of the title “Musical Shock“ in the music • Showgh-e doest • Qeijak-e Koli • Dastan Duet journal, Le Monde and the recipient of the 2003 Best Music • Hanaie of the Year Award from the French Ministry of Culture.) 4 www.simorq.org www.simorq.org 5 Hooman Khalatbari Conductor Born on April 17th Hooman Khalatbari studied piano with Nayyerh Oskouyi, Lilly Sarkisian, and Melik Aslanian. He also studied harmony and counterpoint with Fer- eydoun Nasseri, composition with Ahmad Pejman, and the principles of orchestral conducting with Thomas Christian David and Heshmat Sanjari. He graduated with a B. Mus. from the University of Arts in 1996, having studied Iranian traditional music and Setar playing with Mehrbanu Tofigh, and classical music with Sharif Lotfi, Houshang Kamkar, Amir- Ashraf Arianpour, and Kambiz Roshan-Rawan. From 1988 to 1996, he was the principal pianist of Tehran Symphony Orchestra, assistant conductor of Tehran Symphony Choir, principal pianist for Bahman Cultural Center (BCC) orchestra and choir, and assistant conductor to Prof. Thomas Chris- tian David with Tehran Youth Philharmonic Orchestra. Mr. Khalatbari moved to Austria in 1997 and entered Kunstuniversität Graz, where he studied choral conducting under Rupert Huber and Johannes Prinz, orchestral conducting under Arturo Tamayo, Raffi Armenian and Martin Sieghart. He also studied Opera conducting under Wolfgang Bozic and Günter Fruhmann. He graduated with honours in 2006 with degrees in both choral and orchestral conducting. He was the assistant conductor (and later the principal conductor) of the Junger Kuenstler opera festival in Graz between 1999 to 2001, and the founder and artistic director of the Kirchstetten Castle International Music Festival in northern Austria since 2001. He will be celebrating the latter festival’s 11th season with a performance of Johann Strauss’ Die Fledermaus later this year. Mr. Khalatbari has frequently appeared at the podium of the Graz Opera since 2001, where his conducting repertoire for the 2010-2011 season has included Verdi’s La Traviata, Richard Strauss’ Die Frau Ohne Schatten, Gounod’s Faust, and Shostako- vich’s Lady Macbeth of the Mtsensk District. Mr. Khalatbari’s conducting repertoire spans a wide spectrum of musical traditions, ranging from classical (opera and symphonic) to atonal and contemporary music, and reflects his eclectic musical tastes. Conducting the combined forces of a Persian music Ensemble for the world premiere of the Mr.Motebassem,s Simorq Project with Homayun Shajarian is his latest musical venture. 6 www.simorq.org www.simorq.org 7 Copyright 2010 Simorq Inc. All rights reserved Technician © سیم www.simorq.org Sasan Azodi رغ [email protected] شاهنامه فردسی نه تنها یکی از برجسته ترین آثار ادب پارسی، که یکی از شاهکارهای ادبیات جهان است. حجم حماسه Iliad Odyssey Orchestra Management and communications ملی ما با بیش از پنجاه هزار بیت بیشتر از دو برابر حماسه های » « و» « هومر و بیست برابر حماسه آملانی Nibelungensage« Saeedeh Ghazi English Translator« است.
Load more

Recommended publications
  • Time for Europe to Pace Development of SPV Page 2 |No
    Mehr Vision|No.12|November-December 2018 Time for Europe to pace development of SPV Page 2 |No. 12|Nov - Dec 2018 MEHR NEWSAGENCY Contents Muslims need to talk more with each other: Bajrami 4 Iran is a role model for uniting Muslim states: Indonesian scholar 5 Imam Khomeini initiated idea of Islamic Unity: Prof. Mirza 6 Only Resistance can solve Palestinian crisis: German analyst 7 Dossier Palestine a big umbrella that gathers all Muslims: Hamas rep. 8 Theorizing religion in intl. relations not only feasible but essential 10 PGCC never was effective organization: Shireen Hunter 12 Qatar withdrawal from OPEC may increase Iran’s production shar 13 Political squabbles among OPEC members have weakened its efficacy 14 US new sanctions to impact Iranian nation: Dorsey 16 Al-Khalifa regime threatened people to vote in elections: Bahraini cleric 17 Interview EU army won’t threaten NATO future: ex-CIA official 18 US had no choice but to grant Iranian oil buyers waivers 19 Mehr Vision The sad fate of Europe’s leading figure 22 Tel Aviv’s ‘northern shield’ operation’s objective in Lebanon border 23 Managing Director: Ali Asgari FATF member countries, the very center of money laundering 24 Editorial Board: West return to 2007: Europe’s anger over incompetent politicians 25 Seyed Amir Hassan Dehghani, Will Clinton have the EU’s support? 26 Mohammad Ghaderi, France’s unrestful days with Macron 27 Payman Yazdani Opinion US propaganda war against Iran doomed to failure 28 Editorial Coordinator: Kornet missile wins over Netanyahu’s cabinet 29 Lachin Rezaian Democrats vs.
    [Show full text]
  • Alan Gilbert and the New York Philharmonic
    FOR IMMEDIATE RELEASE UPDATED January 13, 2015 January 7, 2015 Contact: Katherine E. Johnson (212) 875-5718; [email protected] ALAN GILBERT AND THE NEW YORK PHILHARMONIC Alan Gilbert To Conduct SILK ROAD ENSEMBLE with YO-YO MA Alongside the New York Philharmonic in Concerts Celebrating the Silk Road Ensemble’s 15TH ANNIVERSARY Program To Include The Silk Road Suite and Works by DMITRI YANOV-YANOVSKY, R. STRAUSS, AND OSVALDO GOLIJOV February 19–21, 2015 FREE INSIGHTS AT THE ATRIUM EVENT “Traversing Time and Trade: Fifteen Years of the Silkroad” February 18, 2015 The Silk Road Ensemble with Yo-Yo Ma will perform alongside the New York Philharmonic, led by Alan Gilbert, for a celebration of the innovative world-music ensemble’s 15th anniversary, Thursday, February 19, 2015, at 7:30 p.m.; Friday, February 20 at 8:00 p.m.; and Saturday, February 21 at 8:00 p.m. Titled Sacred and Transcendent, the program will feature the Philharmonic and the Silk Road Ensemble performing both separately and together. The concert will feature Fanfare for Gaita, Suona, and Brass; The Silk Road Suite, a compilation of works commissioned and premiered by the Ensemble; Dmitri Yanov-Yanovsky’s Sacred Signs Suite; R. Strauss’s Death and Transfiguration; and Osvaldo Golijov’s Rose of the Winds. The program marks the Silk Road Ensemble’s Philharmonic debut. “The Silk Road Ensemble demonstrates different approaches of exploring world traditions in a way that — through collaboration, flexible thinking, and disciplined imagination — allows each to flourish and evolve within its own frame,” Yo-Yo Ma said.
    [Show full text]
  • 43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
    43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine.
    [Show full text]
  • Shiraz Dissertation Full 8.2.20. Final Format
    UNIVERSITY OF CALIFORNIA SAN DIEGO The Shiraz Arts Festival: Cultural Democracy, National Identity, and Revolution in Iranian Performance, 1967-1977 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy In Music By Joshua Jamsheed Charney Committee in charge: Professor Anthony Davis, Co-Chair Professor Jann Pasler, Co-Chair Professor Aleck Karis Professor Babak Rahimi Professor Shahrokh Yadegari 2020 © Joshua Jamsheed Charney, 2020 All rights reserved. The dissertation of Joshua Jamsheed Charney is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ Co-chair _____________________________________________________________ Co-Chair University of California San Diego 2020 iii EPIGRAPH Oh my Shiraz, the nonpareil of towns – The lord look after it, and keep it from decay! Hafez iv TABLE OF CONTENTS Signature Page…………………………………………………………………… iii Epigraph…………………………………………………………………………. iv Table of Contents………………………………………………………………… v Acknowledgements……………………………………………………………… vii Vita………………………………………………………………………………. viii Abstract of the Dissertation……………………………………………………… ix Introduction……………………………………………………………………… 1 Chapter 1: Festival Overview …………………………………………………… 17 Chapter 2: Cultural Democracy………………………………………………….
    [Show full text]
  • Edition 2 | 2018-2019
    WELCOME Dearest Orlando, I’m excited to begin my fourth season with the Orlando Philharmonic Orchestra. We ended last season with the incredible 25th Anniversary Gala Concert featuring Yo-Yo Ma and my brother violinist Colin Jacobsen. Colin and I first met Yo- Yo through The Silk Road Ensemble, and we are bringing other members of this ensemble to Orlando during the 2018-2019 Season. The programs will evoke the themes and emotions of community, cross cultural exchange, and folk music along with brilliant virtuosos and heroes of our musical tradition. Orlando will turn its eyes skyward, in programs such as Holst’s monumental The Planets and the haunting and rejoicing sounds of Blue as the Turquoise Night of the Neyshabor by Kayhan Kalhor. We can all dance together in the endless Finnish nights when we take a look at the influence of the Argentinian Tango in Scandinavia. We’re deeply honored to welcome to the Philharmonic family, Puerto Rican-born composer and multi-instrumentalist Angélica Negrón as our composer-in-residence for the 2018-2019 Season. The Philharmonic will perform her works on four programs throughout the season, including a World Premiere on the final Focus Series. We look forward to collaborating with her and embracing her as a member of our artistic community. Ms. Negrón will build our orchestra and our city through her artistic and educational programs, and we know you will find her music beautiful, colorful, honest and conversation-provoking. Soloists highlighting the FAIRWINDS Classic Series include season-opening performances by Concertmaster Rimma Bergeron-Langlois and Soprano Maria Laetitia.
    [Show full text]
  • The Poetics of Persian Music
    The Poetics of Persian Music: The Intimate Correlation between Prosody and Persian Classical Music by Farzad Amoozegar-Fassie B.A., The University of Toronto, 2008 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2010 © Farzad Amoozegar-Fassie, 2010 Abstract Throughout most historical narratives and descriptions of Persian arts, poetry has had a profound influence on the development and preservation of Persian classical music, in particularly after the emergence of Islam in Iran. A Persian poetic structure consists of two parts: the form (its fundamental rhythmic structure, or prosody) and the content (the message that a poem conveys to its audience, or theme). As the practice of using rhythmic cycles—once prominent in Iran— deteriorated, prosody took its place as the source of rhythmic organization and inspiration. The recognition and reliance on poetry was especially evident amongst Iranian musicians, who by the time of Islamic rule had been banished from the public sphere due to the sinful socio-religious outlook placed on music. As the musicians’ dependency on prosody steadily grew stronger, poetry became the preserver, and, to a great extent, the foundation of Persian music’s oral tradition. While poetry has always been a significant part of any performance of Iranian classical music, little attention has been paid to the vitality of Persian/Arabic prosody as its main rhythmic basis. Poetic prosody is the rhythmic foundation of the Persian repertoire the radif, and as such it makes possible the development, memorization, expansion, and creation of the complex rhythmic and melodic compositions during the art of improvisation.
    [Show full text]
  • Ars Choralis 2018
    HrVATSKA UDrUGA ZBoroVo\A CroATIAN CHorAL DIrECTorS ASSoCIATIoN mE\UNAroDNI ZBorSKI INSTITUT INTErNATIoNAL CHorAL INSTITUTE ARS CHORALIS 2018 Peti međunarodni simpozij o korusologiji zborska umjetnost – pjevanje – glas The Fifth International Symposium on Chorusology Choral Art – Singing – Voice Zagreb, 5. – 7. 4. 2018 CroATIA ARS CHORALIS 2018 Peti međunarodni simpozij o korusologiji zborska umjetnost – pjevanje – glas The Fifth International Symposium on Chorusology choral art – singing – voice Organizator / Organizer Hrvatska udruga zborovođa / Croatian Choral Directors Association Međunarodni zborski institut / International Choral Institute www.huz.hr • www.choralcroatia.com Ovaj je simpozij posvećen / This Symposium is dedicated to April 16th WORLD VOICE DAY SVJETSKI DAN GLASA 16. travnja world-voice-day.org Počasni gost / Guest of Honour Dr. CHUN KOO – South Korea Ovaj je simpozij posvećen / This Symposium is dedicated to Ovaj je simpozij organiziran od The Symposium is organized by Hrvatske udruge zborovođa The Croatian Choral DIrectors Association u suradnji s in collaboration with Institutom za crkvenu glazbu The Institute for Church Music Katoličkoga bogoslovnog fakulteta of Catholic Theological Faculty of Sveučilišta u Zagrebu University of Zagreb Simpozij je sufinanciran od The symposium is financialy supported by Ministarstva kulture Republike Hrvatske The Ministry of Culture Turističke zajednice grada Zagreba The Zagreb Tourist Board Medijski pokrovitelj Hrvatski katolički radio / Croatian Catholic Radio Tematska područja
    [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]
  • Musiques Mon 03-Ingl
    The 8th World Music Festival of "la Caixa" Foundation offers a programme consisting of 11 concerts plus a variety of parallel activities such as lectures, master classes and four family concerts. It will take place from 3 to 26 October CaixaForum hosts the 8th World Music Festival, a broad panorama fostering intercultural dialogue through music On Friday 3 October, the Iranian vocal and instrumental group Masters of Persian Music will launch this year’s World Musics Festival, an event organised annually by "la Caixa" Foundation. On this occasion, the Festival will highlight Persian culture, with three concerts that will give us different perspectives on the music and traditions of modern-day Iran, complemented by a lecture programme that will draw us to the past and present of the art and poetry of this age-old tradition. With a spirit unequivocally open to dialogue and to enriching cultural exchange, the Festival will also feature music from such countries as Palestine, Kurdistan and Tibet, with the participation of some of their most charismatic representatives, those who have contributed most to the revival, survival and diffusion of their respective traditions. Neighbouring cultures, such as the Portuguese, or distant ones, such as the Korean, also form part of the Festival, which moreover includes an interesting panorama of present-day African music from three different viewpoints: those of Tunisia, Mali and Angola. In addition to the aforementioned lecture programme, the Festival will be complemented by, among other parallel activities, a special concert by musicians from around the world who reside in Catalonia, three master classes in traditional Arabic singing, and four family concerts.
    [Show full text]
  • Discovering an International Language Called Music
    Discovering an International Language called music Tavoos Quarterly,No.8 Omid Rohani (2012) Abstract Iranian music is a rich treasury of harmonious compositions, enchanting melodies and profound, illuminating lyrics. Yet, despite its extraordinary scope and astonishing resources, its deep connection with the essence of Iranian culture and the emotional and spiritual nature of the Iranian psyche, and a history spanning thousands of years, it is not recognized in Western circles as an international musical style, nor as a potential currency for cultural exchange. In its encounter with scientific, academic styles and classical Western music, Iranian music has remained a remote art. Our only accomplishment has been to acquaint a limited audience of educational concerts with this profound and deep-rooted art. In the cultural exchanges between the East and West, our music has been left far behind that of India, Japan, Africa, and South America. Why has our music been detained from participating in an artistic exchange in the vast domain of art? This question sparked a discussion between Loris Cheknavorian, the composer, musicologist and conductor of Armenian origin, and Fereydoon Nasseri, the musicologist and conductor of the Tehran Symphony Orchestra. Is Iranian music—composed of regional, folk, and traditional radifi music—capable of being performed on an international scale, and not simply regarded as an Eastern, marginal art? Loris Cheknavorian: We have a style of folk music that exists among the people of the villages in various parts of the country. This music is the first of three main genres and has been passed down through generations. It is related to certain ceremonies, weddings, circumcision ceremonies, birthdays and such, and has no scientific bearing.
    [Show full text]
  • Why Should Anyone Be Familiar with Persian Literature?
    Annals of Language and Literature Volume 4, Issue 1, 2020, PP 11-18 ISSN 2637-5869 Why should anyone be Familiar with Persian Literature? Shabnam Khoshnood1, Dr. Ali reza Salehi2*, Dr. Ali reza Ghooche zadeh2 1M.A student, Persian language and literature department, Electronic branch, Islamic Azad University, Tehran, Iran 2Persian language and literature department, Electronic branch, Islamic Azad University, Tehran, Iran *Corresponding Author: Dr. Ali reza Salehi, Persian language and literature department, Electronic branch, Islamic Azad University, Tehran, Iran, Email: [email protected] ABSTRACT Literature is a tool for conveying concepts, thoughts, emotions and feelings to others that has always played an important and undeniable role in human life. Literature encompasses all aspects of human life as in love and affection, friendship and loyalty, self-sacrifice, justice and cruelty, manhood and humanity, are concepts that have been emphasized in various forms in the literature of different nations of the world. Poets and writers have endeavored to be heretics in the form of words and sentences and to promote these concepts and ideas to their community. Literature is still one of the most important identifiers of nations and ethnicities that no other factor has been able to capture. As a rich treasure trove of informative and educational material, Persian literature has played an important role in the development and reinforcement of social ideas and values in society, which this mission continues to do best. In this article, we attempt to explain the status of Persian literature and its importance. Keywords: language, literature, human, life, religion, culture. INTRODUCTION possible to educate without using the humanities elite.
    [Show full text]
  • ASIAN SYMPHONIES a Discography of Cds and Lps Prepared By
    ASIAN SYMPHONIES A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis KOMEI ABE (1911-2006, JAPAN) Born in Hiroshima. He studied the cello with Heinrich Werkmeister at the Tokyo Music School and then studied German-style harmony and counterpoint with Klaus Pringsheim, a pupil of Gustav Mahler, as well as conducting with Joseph Rosenstock. Later, he was appointed music director of the Imperial Orchestra in Tokyo, and the musicians who played under him broadened his knowledge of traditional Japanese Music. He then taught at Kyoto's Elizabeth Music School and Municipal College of the Arts. He composed a significant body of orchestral, chamber and vocal music, including a Symphony No. 2 (1960) and Piccolo Sinfonia for String Orchestra (1984). Symphony No. 1 (1957) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) Sinfonietta for Orchestra (1964) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) NICANOR ABELARDO (1896-1934, PHILIPPINES) Born in San Miguel, Bulacan. He studied at the University of the Philippines Diliman Conservatory of Music, taking courses under Guy Fraser Harrison and Robert Schofield. He became head of the composition department of the conservatory in 1923. He later studied at the Chicago Musical College in 1931 under Wesley LaViolette. He composed orchestral and chamber works but is best-known for his songs. Sinfonietta for Strings (1932) Ramon Santos/Philippine Philharmonic Orchestra UNIVERSITY OF THE PHILIPPINES PRESS (2004) YASUSHI AKUTAGAWA (1925-1989, JAPAN) He was born in the Tabata section of Tokyo. He was taught composition by Kunihiko Hashimoto and Akira Ifukube at the Tokyo Conservatory of Music.
    [Show full text]