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Author : Bruno Nettl
Publisher : Unknown
Page : 290 pages
File Size : 53,8 Mb
Release : 1987
Category : Improvisation (Music)
ISBN : UCAL:B3828950
Author : Freydoon Arbabi
Publisher : Unknown
Page : 140 pages
File Size : 40,9 Mb
Release : 2000
Category : Music
ISBN : OCLC:45143218
Author : Dr Laudan Nooshin
Publisher : Ashgate Publishing, Ltd.
Page : 257 pages
File Size : 40,7 Mb
Release : 2015-01-28
Category : Music
ISBN : 9780754607038
This book interrogates musicological discourses of creativity from the perspective of critical theory and postcolonial studies, examining their ideological underpinnings and the relationships of alterity which they sustain. The repertoire which forms the book’s main focus is Iranian classical music, a tradition in which the performer plays a central creative role. Addressing a number of central issues regarding the nature of musical creativity, the author explores both the discourses through which ideas about creativity are constructed, exchanged and negotiated within this tradition, and the practices by which new music comes into being.
Author : Mohammad Reza Azadehfar
Publisher : Azadehfar
Page : 386 pages
File Size : 42,5 Mb
Release : 2011
Category : Music
ISBN : 9789646218925
Author : Ella Zonis
Publisher : Unknown
Page : 223 pages
File Size : 49,8 Mb
Release : 2013-10-01
Category : Electronic
ISBN : 0674434935
Author : Hormoz Farhat
Publisher : Cambridge University Press
Page : 220 pages
File Size : 41,8 Mb
Release : 2004-07-08
Category : Music
ISBN : 0521542065
In this book Hormoz Farhat has unravelled the art of the dastgah by analysing their intervallic structure, melodic patterns, modulations, and improvisations, and by examining the composed pieces which have become a part of the classical repertoire in recent times.
Author : Ann E. Lucas
Publisher : University of California Press
Page : 286 pages
File Size : 52,9 Mb
Release : 2019-10-22
Category : History
ISBN : 9780520300804
A free open access ebook is available upon publication. Learn more at www.luminosoa.org. Iran’s particular system of traditional Persian art music has been long treated as the product of an ever-evolving, ancient Persian culture. In Music of a Thousand Years, Ann E. Lucas argues that this music is a modern phenomenon indelibly tied to changing notions of Iran’s national history. Rather than considering a single Persian music history, Lucas demonstrates cultural dissimilarity and discontinuity over time, bringing to light two different notions of music-making in relation to premodern and modern musical norms. An important corrective to the history of Persian music, Music of a Thousand Years is the first work to align understandings of Middle Eastern music history with current understandings of the region’s political history.
Author : Laudan Nooshin
Publisher : Routledge
Page : 300 pages
File Size : 50,6 Mb
Release : 2017-03-02
Category : Music
ISBN : 9781351926232
Questions of creativity, and particularly the processes which underlie creative performance or ’improvisation’, form some of the central areas of interest in current musicology. Yet the predominant discourses on which musicological thought in this area are based have rarely been challenged. In this book Laudan Nooshin interrogates musicological discourses of creativity from the perspective of critical theory and postcolonial studies, examining their ideological underpinnings, the relationships of alterity which they sustain, and the profound implications for our understanding of creative processes in music. The repertoire which forms the book’s main focus is Iranian classical music, a tradition in which the performer plays a central creative role. Addressing a number of issues regarding the nature of musical creativity, the author explores both the discourses through which ideas about creativity are constructed, exchanged and negotiated within this tradition, and the practice by which new music comes into being. For the latter she compares a number of performances by musicians playing a range of instruments and spanning a period of more than 30 years, focusing on one particular section of repertoire, dastgāh Segāh, and providing transcriptions of the performances as the basis for analytical exploration of the music’s underlying compositional principles. This book is about understanding musical creativity as a meaningful social practice. It is the first to examine the ways in which ideas about tradition, authenticity, innovation and modernity in Iranian classical music form part of a wider social discourse on creativity, and in particular how they inform debates regarding national and cultural identity.
Author : Owen Wright
Publisher : Routledge
Page : 148 pages
File Size : 49,6 Mb
Release : 2017-07-05
Category : Music
ISBN : 9781351538909
In this book Owen Wright analyses a single recording of classical Persian music made by Touraj Kiaras, a distinguished singer, accompanied by four noted instrumentalists. The format of the recording is typical of a public concert performance, and thus includes instrumental compositions as well as a central exploration of vocal repertoire and technique. The analysis identifies salient structural features, whether of the individual components or of the whole, in a way accessible to the western reader, but it also takes account of the analytical metalanguage used in Persian scholarship, and includes consideration of the relationship between music and poetry. It is important to note that it is also guided by the perceptions of the performer, whose input and responses to questions have significantly influenced the enterprise. To avoid the dryly impersonal, the analysis is also framed by an introduction which combines a biographical sketch of Touraj Kiaras with a survey of the twentieth-century evolution of Persian classical music and of the position of the vocal repertoire within it, and by an epilogue which examines further the ideological basis of prevalent attitudes to music, and seeks to explore the validity of the analytical enterprise within this context.
Author : Mohammed M. A. Ahmed,Michael M. Gunter
Publisher : Unknown
Page : 342 pages
File Size : 43,7 Mb
Release : 2007
Category : History
ISBN : UOM:39015070742419
Author : Lloyd Miller
Publisher : Routledge
Page : 395 pages
File Size : 55,8 Mb
Release : 2012-05-04
Category : Social Science
ISBN : 9781136814877
This book is the first full-length analysis of the theory and practice of Persian singing, demonstrating the centrality of Persian elements in the music of the Islamic Middle Ages, their relevance to both contemporary and traditional Iranian music and their interaction with classical Persian poetry and metrics.
Author : Ali BastaniNezhad,Jane Southcott
Publisher : Cambridge Scholars Publishing
Page : 175 pages
File Size : 42,7 Mb
Release : 2024-01-05
Category : Music
ISBN : 9781527525078
This book explores Iranian music education history, detailing its beginnings in 1900 up to present practices and challenges contextualised in the wider society and culture. In addition to this historical account, the text offers detailed and well-illustrated discussions of playing various Iranian classical musical instruments, with discussions of key pedagogical parameters of the tone production and performance of Iranian classical instruments. The information provided here will serve to stimulate further research into Iranian music pedagogy and repertoires, the Ney and Iranian instrumental pedagogy in general. This book offers musicians, educators, historians and musicologists a comprehensive investigation of Iranian instrumental music pedagogy, and fills a current gap in the literature on important global musical and music learning traditions
Author : Bruno Nettl
Publisher : University of Illinois Press
Page : 428 pages
File Size : 49,5 Mb
Release : 1983
Category : Music
ISBN : 0252010396
Author : Mohsen Mohammadi
Publisher : Createspace Independent Publishing Platform
Page : 372 pages
File Size : 44,7 Mb
Release : 2017-07-29
Category : Electronic
ISBN : 1547227931
This dissertation studies the modal system of Persian music. While modern Iranian musicians explain their music as a of seven dastgah plus five sub-dastgah called avaz, the dominant interpretation in the ethnomusicology literature describes the Persian modal system as a set of twelve dastgah. Part I of this dissertation studies how the system of seven dastgah and five avaz was introduced to the ethnomusicology literature and how it was simplified as a set of twelve dastgah. Part I shows that the modal system of Persian music was introduced to the ethnomusicology literature by a generation of Persian musicians who were trained in European music and thus were a hybrid of insider and outsider. Part II studies the historical root of the concept of dastgah. Persian writings on modulation from one mode to another date back to the fourteenth century. This theme was developed into a few collections of modes which were meant to help musicians as modulation instruction. Those collections were developed further and found an order which advised musicians to perform modes in sequences. Modulation instructions were titled "shad" in the seventeenth century. During the late eighteenth and early nineteenth century, the shad was developed further and was renamed dastgah. Part III shows that, while dastgah was an important concept of multi-modal performance, avaz was the general term for Persian modes. Various sources form the nineteenth century and early twentieth century, including musical texts, diaries and travel accounts, old newspapers, early European publications on Persian music, early Persian books on music, and the first catalog of Persian records show that avaz was the general term to refer to Persian modes. Part IV studies the impact of early commercial records on the formation of the Persian modal system. During the first recording session, most labels featured an avaz or a tasnif (song), while seven sets of records were allocated to record the seven dastgah briefly. During the subsequent recording sessions, not only the number of recorded modes decreased, but also more tracks were allocated to the few popular modes. The top ten recorded modes included five avaz that were the central modes of five of the seven dastgah, and five other avaz that became popular through the process of recording. When the seven dastgah were retrieved as an icon of national identity, the five popular avaz retained their modal status but the rest of the avaz were downgraded as pieces of a dastgah only. During the interwar recording sessions, the pattern for coupling tracks on double-sided Persian records was coupling two rhythmic performances in the same mode or two non-rhythmic performances in related modes. Those related modes (avaz) were usually included in a certain dastgah or followed another avaz that was more popular. Each double-sided record became a mode unit, thus, the five popular dastgah were squeezed into one mode while the five popular avaz were extended into smaller dastgah.
Author : James L. Gelvin,Nile Green
Publisher : Univ of California Press
Page : 312 pages
File Size : 52,9 Mb
Release : 2014
Category : History
ISBN : 9780520275027
The second half of the nineteenth century marks a watershed in human history. Railroads linked remote hinterlands with cities; overland and undersea cables connected distant continents. New and accessible print technologies made the wide dissemination of ideas possible; oceangoing steamers carried goods to faraway markets and enabled the greatest long-distance migrations in recorded history. In this volume, leading scholars of the Islamic world recount the enduring consequences these technological, economic, social, and cultural revolutions had on Muslim communities from North Africa to South Asia, the Indian Ocean, and China. Drawing on a multiplicity of approaches and genres, from commodity history to biography to social network theory, the essays in Global Muslims in the Age of Steam and Print offer new and diverse perspectives on a transnational community in an era of global transformation.