DOCSLIB.ORG

Melodies from Uzbekistan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Melodies from Uzbekistan Audio Collection from the Archive of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan Melodies from Uzbekistan UZBEK FOLK MUSICAL HERITAGE 01 02 03 Melodies from Uzbekistan CONTENTS FOREWORD 10 PRODUCED PROJECT IMPLEMENTATION PROJECT MANAGEMENT BY TEAM TEAM PART I. UZBEK FOLK MUSICAL HERITAGE 12 Fine Arts Institute of the Academy Dr. Shakirdjan Pidaev, head of Kwon Huh, head of the project of Sciences of the Republic of the project Uzbekistan Dr. Seong-Yong Park, 1. Uzbek Song 13 Dr. Zulfiya Muradova, coordinator coordinator of the project of the project Heritage Weonmo Park IN Dr. Okilxon Ibragimov, compiler of COLLABORATION WITH commentaries Milee Choi 2. Uzbek National Musical 17 Instruments National Commission of the Kalmurza Kurbanov, scientific expert Yeonsil Park Republic of Uzbekistan for Boyeon Lee UNESCO Aleksey Khmirov, technical expert 3. Maqom 23 Nikolay Goltsov, technical support Art Korean Translator SPONSORED Akbar Sultanov, translator and BY designer Eunkyung Oh 4. Traditions of 27 Uzbek Doston Art International Information and Timur Muradov, volunteer sound Networking Centre for Intangible producer Sound Editor Cultural Heritage in the Asia-Pacific Region under the auspices of Sangil Choi UNESCO (ICHCAP) PART II. Designer CONTENTS OF CDS WITH DETAILED 30 Design Nanoom DESCRIPTIONS Wangjong Song © Fine Arts Institute of the Prepared within the Framework of Uzbekistan-ICHCAP Joint Academy of Sciences of the Cooperation Project On Safeguarding Intangible Cultural Heritage by Republic of Uzbekistan Restoring and Digitizing ICH-Related Analogue Data 04 05 CD 1. CD 2. Uzbek Song Uzbek Instrumental Heritage Music 01. Mayda (Grind it) 01:16 11. Panis Chorgoh 06:02 folk labor-related song 12. Sarbozcha (Soldier’s) 01:41 02. Yarghuchoq (Handmill) 00:35 13. Mukhandas 02:27 folk labor-related song 14. Dorbozlar mashqi: 1. Duchava; 2. Charkh 01:55 03. Chiray-chiray 00:56 (Dorbozs’ exercise: 1. Duchava; 2. Charkh) folk labor-related song 15. Karnay-noghora usullari 04:49 04. Khosh-khosh 00:53 (Usuls of Karnay and noghora) folk labor-related song 16. Suyak changqobuz kuyi 01:58 05. Boychechak (Snowdrop) 00:26 (Melody of bone Changqobuz) children’s calendar-related ceremonial song 17. Sodda Shodiyona (Simple Shodiyona) 03:23 06. Yor-yor 01:57 11. Ikki bulbul sayrasa 01:46 01. Qoshtar (Dichord) 03:55 18. Zang usullari (Usuls of zang) 02:52 family-related ceremonial song (When two nightingales warble) 02. Qoylarni yetaklash (Leading sheep) 01:20 folk song 19. Sarboz (Soldier) 02:02 07. Kelin salom (Bow of a bride) 01:06 03. Yalang davron (Happy days) 04:14 family-related ceremonial song 12. Ayting ortoq (Sing your answer) 03:05 20. Sarparda 05:24 04. Mavricha Yakkazarbi. Sarxona 03:38 08. Khush keldingiz (You are welcome) 03:17 folk lapar 05. Jonon (Honey) 02:55 family-related ceremonial song 13. Hovajon (Yes, my darling) 02:26 06. Yolghiz (Alone) 03:17 09. Alla (Lullaby) 01:20 lapar of khalfas folk song 14. Uchqars (Three handclaps) 02:45 07. Sato nolasi (Weeping of Sato) 03:46 10. Yor muncha zor etding mani 01:44 qarsak 08. Farghonacha (Ferghana’s) 02:48 (You make me miss you, darling) 15. Yalli 02:22 09. Chuponcha (Shepherd’s) 02:30 folk terma yalla 10. Sibiziq kuy (Sibiziq melody) 01:44 16. Tanavor - Qora sochim 02:45 (Tanavor - My black hair) folk song 17. Sanamo (Beauty) 03:50 folk song 18. Savti Suvora 05:40 classical ashula, poem by Mashrab 19. Qayu qullik jahonga kelsa 04:21 (After enlightened servant of God comes to world) katta ashula, poem by Haziniy 06 07 CD 3. CD 4. CD 6. Bukhara Khoresm Dostons from Surkhandarya and Shashmaqom Maqoms Kashkadarya 01. Muhammasi Mirzo Hakim 06:37 Song cycle of maqom of Rost Melodies from “Ravshan” doston Mushkilot part of maqom Segoh 01. Tani maqom 09:03 01. Avazni otasiga qarab aytgan suzi 01:37 : 02. Tasnifi Iroq 06 14 poem by Navoiy (The words told byA vaz to his father) Mushkilot part of maqom Iroq 02. Taronai Rost 02:16 02. Goroghlining Avazga javobi 01:48 : 03. Saqili Kalon 14 35 folk poem (The answer by Gorogli to Avaz) Mushkilot part of maqom Iroq 03. Suvorai Rost 07:10 03. Ravshanning ot sozlashi 04:37 : 04. Qashqarchai Mustahzodi Navo 04 47 poem by Ogahiy (Ravshan halters up a horse) From maqom of Navo. Poem by Nozim 04. Ufari Rost 04:45 04. Zindonda Ravshan bilan Zulkhumorning aytishgani 07:30 poem by Navoiy (Conversation between Ravshan and Zulkhumor in dungeon) 05. Zulkhumorning maynaga elanib aytgan suzi 01:52 Instrumental cycle of Khoresm maqoms (Pleading words told to starling by Zulkhumor) 05. Saqili Navo 05:43 From “Avaz“ doston 06. Peshravi Dugoh 06:18 06. Fragments from “Avaz” doston 44:10 CD 5. CD 7. CD 8. Ferghana-Tashkent Dostons from Dostons from Maqom Khoresm Karakalpakstan 01. Gulyor-Shahnoz I-V 07:57 01. Fragment from “Hurliqo-Hamro” doston 43:05 Melodies from “Alpamys” doston : : 02. Navrozi Ajam, Ajam va taronalari 17 46 02. Fragment from “Bozirgon” doston 32 45 01. Ulli ziban 03:57 : 03. Yovvoyi Chorgoh 07 00 02. Ilghal 03:50 03. Qanigul 03:56 04. Gulparshin 05:19 05. Koz aydin 04:31 06. Aygha shap 04:21 07. Yerman tolgau 03:24 08. Posqan yel 03:23 From “Gharip Ashiq” doston 09. Fragment from “Gharip Ashiq” doston 17:31 08 09 FOREWORD Established in 1928, the Fine musical folklore and traditional This work serves the purposes Arts Institute of the Academy classical music. The samples and tasks indicated in the State of Sciences of the Republic of were collected during various Programme on safeguarding and Uzbekistan is considered to ethnomusicological expeditions studying the intangible heritage be one of the largest in Central carried out from 1950 to 1980 of Uzbekistan. It carries important Asia. One of the goals it actively to all regions of Uzbekistan as social and cultural value, not only works towards is recording, well as cross-border regions at the national, but also at the preserving, and promoting the of Tajikistan, Kyrgyzstan, international level, by acquainting musical heritage of Uzbekistan. Turkmenistan, and Kazakhstan a broad public with the The Institute keeps an archive where Uzbek diaspora can be peculiarities of Uzbek traditional of audio recordings. Dr. found. The archive includes a rich culture and helping relevant Fayzulla Karomatli (Karomatov) collection of studio recordings specialists in further research of played a special role in the created at the Fine Arts Institute this artistic phenomenon. creation of this archive, which from the 1930s to the 1970s. contains recordings of Uzbek This archive is thus a unique Thanks to the efforts of the Institute were converted into compilation of traditional music project participants (head – Dr. new, contemporary formats. that reflects the style and genre Shakirdjan Pidaev), financial A selection of representative diversity of the national musical support from the International examples were chosen to put culture of the Uzbek people. Information and Networking on CDs, which can be used for Centre for Intangible Cultural educational and promotional As a result of the successful Heritage in the Asia-Pacific purposes. implementation of an Uzbekistan- Region under the auspices of ICHCAP joint cooperation project UNESCO (ICHCAP, Republic titled “On Safeguarding Intangible of Korea), and assistance Cultural Heritage by Restoring from the National Commission and Digitizing ICH-Related of Uzbekistan for UNESCO Analogue Data” in 2015, the (Secretary General – Alisher materials of the archive of Fine Ikramov), the archival audio Arts Institute were digitized. recordings of the Fine Arts 010 011 UZBEK FOLK MUSICAL Uzbek Song Part I. Heritage 1. Heritage The rich musical heritage of the music. These folk melodies and Labor-related songs. Labor- mill. These types of songs were Uzbek people is represented songs are considered suitable related songs, which represent generally sung in a recitative by two main layers: (1) Oral folk for performance by the general one of the most ancient examples manner and were based on music (or musical folklore), and public and easily understandable of Uzbek oral folk tradition, poetical quatrains associated with (2) traditional professional music. by ordinary people. They are thus were performed in connection the work being carried out. Each of these layers has its own usually performed during daily with various activities of the peculiar genre and performance life events and special occasions, population. In particular, a number The songs associated with style. such as ceremonies, festivities, of agricultural songs emerged. domestic crafts, such as and other customs. Folk songs spinning thread with a spinning Diverse instrumental melodies are often expressed using poetry For example, the song “Qosh wheel, carpet weaving, and and songs (such as songs related based on the barmoq meter (folk haydash” was performed while skullcap embroidery, are usually plowing, the song “Orimqoshigi” to labor, ceremonies, or seasons, syllabic versification system). performed by women. While while harvesting, the song doing these tasks, women terma, qushiq, lapar, yalla, ashula, “Mayda-yo, mayda” while grinding unconsciously begin to reveal etc.) emerged from oral folk wheat, the song “Yorghuchoq” the emotional experiences and while grinding grain with a hand feelings related to their personal Melodies and tunes often span These differ from oral folk music performance skills for each of lives. Therefore, in such songs, a domestic animal and getting and its most important day--the a small range (from a fourth by their relatively developed these genres. lyrical melodies, such as “dil more milk from it. day of Navruz festivities. to a sixth), and use simple melodies, songs with wide yozdi” (“pouring out one’s soul”), forms, such as the couplet and ranges, and complex forms and The archive of audio recordings of are commonly found.
Load more

Recommended publications
  • CAPSTONE 20-1 SWA Field Study Trip Book Part II
    CAPSTONE 20-1 SWA Field Study Trip Book Part II Subject Page Afghanistan ................................................................ CIA Summary ......................................................... 2 CIA World Fact Book .............................................. 3 BBC Country Profile ............................................... 24 Culture Gram .......................................................... 30 Kazakhstan ................................................................ CIA Summary ......................................................... 39 CIA World Fact Book .............................................. 40 BBC Country Profile ............................................... 58 Culture Gram .......................................................... 62 Uzbekistan ................................................................. CIA Summary ......................................................... 67 CIA World Fact Book .............................................. 68 BBC Country Profile ............................................... 86 Culture Gram .......................................................... 89 Tajikistan .................................................................... CIA World Fact Book .............................................. 99 BBC Country Profile ............................................... 117 Culture Gram .......................................................... 121 AFGHANISTAN GOVERNMENT ECONOMY Chief of State Economic Overview President of the Islamic Republic of recovering
    [Show full text]
  • Akü Amader / Sayi 10 1
    AKÜ AMADER / SAYI 10 AFYON KOCATEPE ÜNİVERSİTESİ AKADEMİK MÜZİK ARAŞTIRMALARI DERGİSİ Cilt V / Sayı 10 / Haziran 2019 E ISSN: 2667-6001 AFYON KOCATEPE UNIVERSITY ACADEMIC MUSIC RESEARCH JOURNAL Volume V / Issue 10 / June 2019 Özlem ELİTAŞ Mesud Cemil’in Klâsik Koro Anlayışı Zerin RASUL Çağdaş Özbek Bestecilerin Piyano Eserleri (Rustam Abdullayev'le Habibulla Rahimov'un Piyano Besteleri Üzerine) Hakan YILMAZ Sinemada Müzik Kullanımı Bağlamında Theodoros Angelopoulos’un “Ağlayan Çayır” Filmi Üzerine Bir İnceleme Şehrinaz GÜNDÜZ Adıyaman Filarmoni Orkestrasının Sanat Özgür OĞUZ Faaliyetlerinin Kent İnsanının Yaşamına Olan Etkisi Derya UÇAK Müziksel Bellek Geliştirmede Berard Metodu Kullanımının İncelenmesi Banu YİNAL Viyola Yayının Teknik Kullanımı Tuba BARUTCU Taş Plak Geleneğinde Türk Müziği Kadın Ses Sanatçılarının Müzikal Kimlik ve Müzikal Gelişimleri Beril ÖZYAZICI Barok Dönem Klavyeli Çalgı Eserlerinin Günümüz Teknikleri ile Piyano Üzerinde İcrası Üzerine Bir Derleme Oral Mustafa AKÇA Bilim ve Sanat Merkezleri Müzik Alanı Öğrencilerin Çağrı ŞEN Müzik Kavramına Yönelik Algılarının Belirlenmesi: Zafer KURTASLAN Bir Metafor Analizi Çalışması 1 AKÜ AMADER / SAYI 10 AFYON KOCATEPE ÜNİVERSİTESİ AKADEMİK MÜZİK ARAŞTIRMALARI DERGİSİ Cilt V / Sayı 10 / Haziran 2019 E ISSN: 2667-6001 AFYON KOCATEPE UNIVERSITY ACADEMIC MUSIC RESEARCH JOURNAL Volume V / Issue 10 / June 2019 Sahibi / Owner Afyon Kocatepe Üniversitesi adına Devlet Konservatuvarı Müdürü Prof. Dr. Uğur TÜRKMEN Editörler / Editors Prof. Dr. Uğur TÜRKMEN Dr. Öğr. Üyesi Duygu SÖKEZOĞLU ATILGAN Yardımcı Editörler / Co-Editorials Doç. Çağhan ADAR Dr. Öğr. Üyesi Safiye YAĞCI Öğr. Elm. Filiz YILDIZ Yayın Kurulu / Editorial Board Prof. Dr. Uğur TÜRKMEN Prof. Dr. Emel Funda TÜRKMEN Doç. Çağhan ADAR Doç. Servet YAŞAR Dr. Öğr. Üyesi Duygu SÖKEZOĞLU ATILGAN Dr. Öğr. Üyesi Sevgi TAŞ Dr.
    [Show full text]
  • Delivery Destinations
    Delivery Destinations 50 - 2,000 kg 2,001 - 3,000 kg 3,001 - 10,000 kg 10,000 - 24,000 kg over 24,000 kg (vol. 1 - 12 m3) (vol. 12 - 16 m3) (vol. 16 - 33 m3) (vol. 33 - 82 m3) (vol. 83 m3 and above) District Province/States Andijan region Andijan district Andijan region Asaka district Andijan region Balikchi district Andijan region Bulokboshi district Andijan region Buz district Andijan region Djalakuduk district Andijan region Izoboksan district Andijan region Korasuv city Andijan region Markhamat district Andijan region Oltinkul district Andijan region Pakhtaobod district Andijan region Khdjaobod district Andijan region Ulugnor district Andijan region Shakhrikhon district Andijan region Kurgontepa district Andijan region Andijan City Andijan region Khanabad City Bukhara region Bukhara district Bukhara region Vobkent district Bukhara region Jandar district Bukhara region Kagan district Bukhara region Olot district Bukhara region Peshkul district Bukhara region Romitan district Bukhara region Shofirkhon district Bukhara region Qoraqul district Bukhara region Gijduvan district Bukhara region Qoravul bazar district Bukhara region Kagan City Bukhara region Bukhara City Jizzakh region Arnasoy district Jizzakh region Bakhmal district Jizzakh region Galloaral district Jizzakh region Sh. Rashidov district Jizzakh region Dostlik district Jizzakh region Zomin district Jizzakh region Mirzachul district Jizzakh region Zafarabad district Jizzakh region Pakhtakor district Jizzakh region Forish district Jizzakh region Yangiabad district Jizzakh region
    [Show full text]
  • A Look at the History of Instrumental Performance
    Turkish Journal of Physiotherapy and Rehabilitation; 32(3) ISSN 2651-4451 | e-ISSN 2651-446X A LOOK AT THE HISTORY OF INSTRUMENTAL PERFORMANCE Haydarov Azizbek1, Talaboyev Azizjon2, Madaminov Siddiqjon3, Mamatov Jalolxon4 1,2,3,4Fergana Regional Branch of Uzbekistan State Institute of Arts and Culture [email protected], [email protected]. [email protected], [email protected] ABSTRACT This article tells about the emergence and development of Uzbek folk music and instrumental performance in Central Asia. There are many legends about the creation of musical instruments. One of such legends is cited by musicologist B.Matyokubov. According to the narrations, the instruments of Tanbur, Dutor, Nay, and Gijjak are the four angels may be due to their efforts, namely, the messenger angel Gabriel, the angel Michael who moves the world, the angel Isrofil who blows the trumpet in the Hereafter, and the angel of death in the body of Adam. According to musicians and craftsmen, they took mulberry wood from heaven to make instruments. From the above it can be concluded that our national instruments were formed before and during our era, and some of them still retain their appearance, albeit partially. Keywords: music, instrument, circle, tanbur, rubob, ud, melody. In the book of President Islam Karimov "High spirituality is an invincible force" The book proudly acknowledges the discovery of a bone flute along with gold and bronze objects in a woman's grave in the village of Muminabad near Samarkand, which has a unique musical culture in the Bronze Age. The circular circle-shaped instrument found in the Saymalitosh rock drawings on the Fergana mountain range and depicted among the participants of the ceremony is also believed to date back to the 2nd century BC.
    [Show full text]
  • Re(Art)Iculating Empowerment: Cooperative Explorations with Community Development Workers in Pakistan
    RE(ART)ICULATING EMPOWERMENT: COOPERATIVE EXPLORATIONS WITH COMMUNITY DEVELOPMENT WORKERS IN PAKISTAN by Shama Dossa A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Adult Education and Counselling Psychology Ontario Institute for Studies in Education of the University of Toronto © Copyright by Shama Dossa (2011) RE(ART)ICULATING EMPOWERMENT: COOPERATIVE EXPLORATIONS WITH COMMUNITY DEVELOPMENT WORKERS IN PAKISTAN Doctor of Philosophy, 2011 Shama Dossa Graduate Department of Adult Education and Counselling Psychology University of Toronto Abstract Situated in the postcolonial modernizing discourse of development, many empowerment narratives tend to pre-identify, pre-construct and categorize community development workers/ mobilizers as empowered bodies, catalysts, and change agents. These bodies are expected to and are assumed will facilitate a transformation in oppressed peoples’ self image and belief’s about their rights and capabilities. Although feminist academics/activists have been critical of imperialist, neo-liberal and politico-religious co-optations of understandings of empowerment, limited attention seems to have been paid to the material effects of empowerment narratives on the lives of these community development workers. Nor does there appear to be sufficient analysis into how local community development workers/mobilizers who find themselves in precarious positions of employment, engage with these narratives. Provided with guidelines based on project objectives and
    [Show full text]
  • 8 the Orpheus-Type Myth in Turkmen Musical Tradition Sławomira Żerańska-Kominek Institute of Musicology, University of Warsaw
    8 The Orpheus-Type Myth in Turkmen Musical Tradition Sławomira Żerańska-Kominek Institute of Musicology, University of Warsaw Introduction Few figures from Greek mythology have played such a significant role in Eu- ropean culture. An heroic voyager into the underworld, the most faithful of lovers, a priest, the mutilated victim of female jealousy, a teacher of human- ity and an inventor, Orpheus was first and foremost a musician and poet, the embodiment of the artist. The countless reinterpretations of the ancient legend which have arisen over the centuries in the minds of musicians, philoso- phers, poets and painters have sought in the image of the Thracian singer the essence and the sense of artistic creativity, linked most closely to religious experience. The divine gift of music and poetry enable him to attain levels of consciousness that are inaccessible to ordinary humans and connect him to the supernatural world. As the ‘translator of the Gods’, the poet reveals to people spiritual truths, he is the conduit of sacred mysteries which are accessible to the chosen few alone. In sacrificing his life, Orpheus becomes the First Artist to transmit to future generations the secret of his art. The image of a mythical poet-musician who dies of love while seeking im- mortality in art is not the exclusive property of European culture. A remark- ably similar figure can be found in the tradition of the peoples of Central Asia. Görogly (Son of the Grave) is an initiated singer, a soulful poet, who, in tread- ing the path of love, vanquishes death, restores harmony to the universe and brings cultural goods to mankind.
    [Show full text]
  • Loanwords in Uyghur in a Historical and Socio-Cultural Perspective (1), DOI: 10.46400/Uygur.712733 , Sayı: 2020/15, S
    Uluslararası Uygur Araştırmaları Dergisi Sulaiman, Eset (2020). Loanwords in Uyghur in a Historical and Socio-Cultural Perspective (1), DOI: 10.46400/uygur.712733 , Sayı: 2020/15, s. 31-69. LOANWORDS IN UYGHUR IN A HISTORICAL AND SOCIO-CULTURAL PERSPECTIVE (1) [Araştırma Makalesi-Research Article] Eset SULAIMAN* Geliş Tarihi: 01.04.2020 Kabul Tarihi: 13.06.2020 Abstract Modern Uyghur is one of the Eastern Turkic languages which serves as the regional lingua franca and spoken by the Uyghur people living in the Xinjiang Uyghur Autonomous Region (XUAR) of China, whose first language is not Mandarin Chinese. The number of native Uyghur speakers is currently estimated to be more than 12 million all over the world (Uyghur language is spoken by more than 11 million people in East Turkistan, the Uyghur homeland. It is also spoken by more than 300,000 people in Kazakhstan, and there are Uyghur-speaking communities in Kyrgyzstan, Uzbekistan, Tajikistan, Pakistan, India, Saudi Arabia, Turkey, Mongolia, Australia, Germany, the United States of America, Canada and other countries). The Old Uyghur language has a great number of loanwords adopted from different languages at different historical periods. The loanwords come from sources such as ancient Chinese, the ancient Eastern Iranian languages of Saka, Tocharian and Soghdian of the Tarim Basin. Medieval Uyghur, which developed from Old Uyghur and Karakhanid Turkic, is in contrast to Old Uyghur, is a language containing a substantial amount of Arabic and Persian lexical elements. Modern Uyghur was developed on the basis of Chaghatay Turki, which had also been heavily influenced by Arabic and Persian vocabularies.
    [Show full text]
  • Culture and Customs of the Central Asian Republics
    Culture and Customs of the Central Asian Republics Rafis Abazov Greenwood Press CULTURE AND CUSTOMS OF THE CENTRAL ASIAN REPUBLICS The Central Asian Republics. Cartography by Bookcomp, Inc. Culture and Customs of the Central Asian Republics 4 RAFIS ABAZOV Culture and Customs of Asia Hanchao Lu, Series Editor GREENWOOD PRESS Westport, Connecticut • London Library of Congress Cataloging-in-Publication Data Abazov, Rafi s. Culture and customs of the Central Asian republics / Rafi s Abazov. p. cm. — (Culture and customs of Asia, ISSN 1097–0738) Includes bibliographical references and index. ISBN 0–313–33656–3 (alk. paper) 1. Asia, Central—History. 2. Asia, Central—Social life and customs. I. Title. DK859.5.A18 2007 958—dc22 2006029553 British Library Cataloguing in Publication Data is available. Copyright © 2007 by Rafi s Abazov All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2006029553 ISBN: 0–313–33656–3 ISSN: 1097–0738 First published in 2007 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10 9 8 7 6 5 4 3 2 1 Contents Series Foreword vii Preface xi Acknowledgments xv Notes on Transliteration xvii Chronology xxi 1 Introduction: Land, People, and History 1 2 Thought and Religion 59 3 Folklore and Literature 79 4 Media and Cinema 105 5 Performing Arts 133 6 Visual Arts 163 7 Architecture 191 8 Gender, Courtship, and Marriage 213 9 Festivals, Fun, and Leisure 233 Glossary 257 Selected Bibliography 263 Index 279 Series Foreword Geographically, Asia encompasses the vast area from Suez, the Bosporus, and the Ural Mountains eastward to the Bering Sea and from this line southward to the Indonesian archipelago, an expanse that covers about 30 percent of our earth.
    [Show full text]
  • 9782746978621.Pdf
    EDITION Directeurs de collection et auteurs : Dominique AUZIAS et Jean-Paul LABOURDETTE Auteurs : Nicolas KLEIN, Lise PATHE, Bienvenue Jean-Paul LABOURDETTE, Dominique AUZIAS et alter Directeur Editorial : Stéphan SZEREMETA Responsable Editorial Monde : Patrick MARINGE sur la Route Rédaction Monde : Caroline MICHELOT, Morgane VESLIN, Pierre-Yves SOUCHET et Leena BRISACQ de la Soie ! Rédaction France : François TOURNIE, Jeff BUCHE, Perrine GALAZKA et Talatah FAVREAU FABRICATION Fallait-il que la soie fasse rêver l’Occident pour que des Responsable Studio : Sophie LECHERTIER caravanes, souvent composées de plus de 5 000 hommes et assistée de Romain AUDREN de centaines de bêtes, chevaux, chameaux et yaks, se risquent Maquette et Montage : Julie BORDES, Élodie CLAVIER, Sandrine MECKING, à traverser les terres les plus hostiles de la Chine, l’Asie centrale, Delphine PAGANO et Laurie PILLOIS barrée de montagnes infranchissables, de déserts parmi les Iconographie et Cartographie : Audrey LALOY plus arides de la planète, de steppes hostiles, de températures WEB ET NUMERIQUE extrêmes été comme hiver ? Sans parler des brigands et bandes Directeur technique : Lionel CAZAUMAYOU de guerriers nomades qui hantaient la zone et étaient attirés Chef de projet et développeurs : sans cesse par ces richesses comme le papillon de nuit par la Jean-Marc REYMUND assisté de Florian FAZER, lumière. C’est pourtant bien aux confins de cette Chine et de Anthony GUYOT et Cédric MAILLOUX cette Asie centrale que va naître l’une des plus grandes voies DIRECTION COMMERCIALE de communication terrestre jamais établie entre l’Orient et Responsable Régies locales : l’Occident : la Route de la Soie. Michel GRANSEIGNE Responsable recrutement Régies locales : Une route qui, en réalité, n’a pas attendu la soie pour exister.
    [Show full text]
  • List of Districts of Uzbekistan
    Karakalpakstan SNo District name District capital 1 Amudaryo District Mang'it 2 Beruniy District Beruniy 3 Chimboy District Chimboy 4 Ellikqala District Bo'ston 5 Kegeyli District* Kegeyli 6 Mo'ynoq District Mo'ynoq 7 Nukus District Oqmang'it 8 Qonliko'l District Qanliko'l 9 Qo'ng'irot District Qo'ng'irot 10 Qorao'zak District Qorao'zak 11 Shumanay District Shumanay 12 Taxtako'pir District Taxtako'pir 13 To'rtko'l District To'rtko'l 14 Xo'jayli District Xo'jayli Xorazm SNo District name District capital 1 Bog'ot District Bog'ot 2 Gurlen District Gurlen 3 Xonqa District Xonqa 4 Xazorasp District Xazorasp 5 Khiva District Khiva 6 Qo'shko'pir District Qo'shko'pir 7 Shovot District Shovot 8 Urganch District Qorovul 9 Yangiariq District Yangiariq 10 Yangibozor District Yangibozor Navoiy SNo District name District capital 1 Kanimekh District Kanimekh 2 Karmana District Navoiy 3 Kyzyltepa District Kyzyltepa 4 Khatyrchi District Yangirabad 5 Navbakhor District Beshrabot 6 Nurata District Nurata 7 Tamdy District Tamdibulok 8 Uchkuduk District Uchkuduk Bukhara SNo District name District capital 1 Alat District Alat 2 Bukhara District Galaasiya 3 Gijduvan District Gijduvan 4 Jondor District Jondor 5 Kagan District Kagan 6 Karakul District Qorako'l 7 Karaulbazar District Karaulbazar 8 Peshku District Yangibazar 9 Romitan District Romitan 10 Shafirkan District Shafirkan 11 Vabkent District Vabkent Samarqand SNo District name District capital 1 Bulungur District Bulungur 2 Ishtikhon District Ishtikhon 3 Jomboy District Jomboy 4 Kattakurgan District
    [Show full text]
  • Musicalization in Qualified Media of Poetry and Painting
    Musicalization in Qualified Media of Poetry and Painting (Inter)mediality in šāhnāmeh and Its Illustrations D i s s e r t a t i o n zur Erlangung des akademischen Grades Doktor der Philosophie in der Philosophischen Fakultät der Eberhard Karls Universität Tübingen vorgelegt von (Farzaneh Soorani) Aus (Iran) (2018) Gedruckt mit Genehmigung der Philosophischen Fakultät der Eberhard Karls Universität Tübingen Dekan: Prof. Dr. Jürgen Leonhardt Hauptberichterstatter: Prof. Dr. Klaus Sachs-Hombach Mitberichterstatterin: Prof. Dr. Ingrid Hotz-Davies Tag der mündlichen Prüfung: (Druck oder Verlag und Ort) ii Acknowledgement به نام خداوند جان و خرد کزین برتر اندیشه برنگذرد Great lord of life and wisdom! In thy name Which to transcend no flight of thought may claim (Ferdowsi) It is my pleasure to acknowledge the roles of several individuals who were instrumental for the completion of my Ph.D. Research. I owe my deepest gratitude to my advisor Professor Klaus Sachs-Hombach. Without his continuous optimism and support concerning this work, this study would hardly have been completed. I also express my warmest gratitude to my second supervisor Professor Ingrid Hotz-Davies, who patiently guided me during the last year. My special appreciation goes to Dr. Brunner, for his friendship and encouragement and for providing financial assistance, which bolstered me to perform my work comfortably. He offered emotional and logistical counsel in times when I felt that earning a Ph.D. was surely the worst decision I had ever made. Lukas Wilde was my primary adviser in the final stages of my research. The final version of the "introduction" has benefited enormously from his demand for clarity and his help constructing a strong argument.
    [Show full text]
  • Serenades Music Credits
    composer Davood A. Tabrizi (cast) Afghan Musicians Toofan Toghyani Sepehr Toghyani Shahin Torabi Saman Ebrahimi Saeed Malakan Music Mixed at Trackdown Digital Pty Ltd Music Recording and Mix Engineer Tim Ryan Music Mixed by Davood A. Tabrizi Music Recording Assistants Damian Candusso Scott Ryan Music Recording Co-Ordinator Mike Duffy Singers Bahar Davood A. Tabrizi Parviz Amiri Hasib Delnawaz Piano, Violin, Daf, Dotar, Karnay, Dayereh, Keyboards Davood A. Tabrizi May, Kaval, Ney Kim Sanders Baglama, Yayli Tanbur, Oud Sabahattin Akdagcik Harmonium, Robab Sayd Sarshar Tabla Yama Sarshar "Sempre Libera" from La Traviata Composed by Giuseppe Verdi Performed by Nellie Melba Orchestra Conducted by Landon Ronald Recorded in London 1904-1921 Bach Minuette in G Minor Played by David Stanhope Silent Night Played by David Stanhope Singer Stephen Sheehan Ding Dong Merrily On High Singer Stephen Sheehan and "The Chatties” Chatswood Public School Choir Master - Kerry Murphy The producer wishes to thank Emi (sic) Music CD: A CD of the soundtrack was released: CD Move Records, Australia Move MD 3237 2001 Includes: Bonus two minute theatrical trailer in quicktime format (Mac and PC). THE MUSICIANS: Bahar: Main Vocal Parviz Amiri: Vocals Hasib Delnavaz: Vocals Akdagcik Sabahattin: Yalli Tanbur, Baglama, Oud Kim Sanders: Mey, Ney, Keval Yama Sarshar: Tabla Sayd Sarshar: Harmonium Davood A. Tabrizi: Vocals, Persian Daf, Piano, Dayereh, Tibetan Karney, Bolivian Flute, Violin, Percussion, Keyboards Soundtrack recorded and mixed at Trackdown Digital Pty. Ltd, Camperdown. NSW. Producer: Davood A. Tabrizi Engineer and editor: Tim Ryan Mixing: Tim Ryan and Davood A. Tabrizi Assistant engineer: Scott Ryan Keyboards and synthesiser recorded and programmed at Because Yes Studio, Sydney Engineer: Matthew Hughes 1.
    [Show full text]