Mamak Khadem, vocals, has been called “one of the wonders of world trance music” by the Los Angeles Times. She has performed throughout the world, appearing at the Perth Concert Hall (Australia), the Greek Theater (Los Angeles), the Freer Gallery of Art (Washington, D.C.), the Museum of Folk Instruments (Greece), the Irish World Academy of Music and Dance (Ireland), House of Culture (Germany), California Plaza Grand Performances (Los Angeles), the Skirball Cultural Center (Los Angeles), the World Festival of Sacred Music, (Los Angeles), the Los Angeles County Museum of Art (Los Angeles), and the Voices of Women Festival (Greece). An active recording artist in Hollywood, her voice can be heard in the films Traffic, Buffalo Soldier, Dracula 2000, and Persona Non Grata, as well as the television programs Buffy the Vampire Slayer, Battlestar Galactica, Dark Angels, and Profiler. She performed for Bahram Bayszai and Mohammad Reza Darvishi's theatrical production Majles-e Shabih at Tehran's City Theater in 2005. Formerly lead singer of the Persian-fusion band Axiom of Choice, she released her first solo album, Jostojoo/Forever Seeking, in 2007.
Jamshied Sharifi, keyboard, graduated from the Berklee College of Music in Boston. In 1983, he was named Outstanding Pianist at the Collegiate Jazz Festival at the University of Notre Dame. From 1985 to 1992, he led the MIT Festival Jazz Ensemble, recording two CDs and winning the ensemble prize at the Collegiate Jazz Festival. In the field of film arranging and composing, he has done work for The Thomas Crown Affair, Muppets from Space, Down to Earth, Harriet the Spy, Clockstoppers, and The Rugrats Movie. Along with Mamak Khadem, he has served as arranger and producer for Tibetan vocalist Yungchen Lhamo and the fusion band Mo Boma. His own CD A Prayer for the Soul of Layla was named Best Contemporary World Music Album at the New Age Voice Music Awards. In 2006, he conducted the orchestra for Dream Theater's 20th Anniversary World Tour at Radio City Music Hall in New York.
Hamed Saidi, santur and vocals, studied the Persian classical repertoire (radif) and santur under Madjid Kiani and earned his music degree at the Iranian Academy of the Arts. He has since performed in Greece, Ireland, Germany, Turkey, and the United States. He has also composed music for more than 30 films, television programs, and dance and theatrical presentations, including Javdanegi by Farshad Fereshtehekmat, Afsaneh Saheleh Tareek by Reza Davari, Letters from Tentland by Helena Waldman, and the dance production Avazhick at the Theatre Shahr in Tehran. His works have received awards at the Beirut Film Festival, the Iran Television Festival, and the Society of Critics of Theater in Iran. He tours regularly with Mamak Khadem and can be heard on her CD Jostojoo/Forever Seeking.
Ole Mathisen, clarinet and saxophones, earned his bachelor's degree from the Berklee College of Music and his master's degree in jazz performance from the Manhattan School of Music. In addition to his performing career, he is an active film and TV composer, record producer, and arranger. He performs widely in the New York jazz scene and is in high demand as a studio musician, appearing on more than 80 recordings. His interests encompass classical, jazz, electronic, ethnic, and experimental music. He has conducted jazz clinics and given private lessons in Japan, Norway, Sweden, France, Germany, and Canada. He leads the group Anomaly, and is a member of SYOTOS, Afromantra, and NYNDK. He has recorded and performed with Badal Roy, William Kennedy, Steve Smith, Eddie Gomez, Rufus Reid, Ron Carter, Grady Tate, LaVerne Baker, Randy Brecker, Michael Gibbs, Harvie Swartz, Bill Bruford, Kenny Barron, and Bob Moses, among many others. He is on the music faculty of Columbia University.
Ben Wittman, percussion, tours regularly in Europe, the UK, Asia, and South America, with an eclectic roster of artists including Don Byron, Laurie Anderson, Erasure, Solas, Keiko Lee, Jiro Yoshida, Yungchen Lhamo, and the New York Voices. In high school, he studied drums with jazz greats Milfred Graves and Freddie Waits. He earned his bachelor's degree in jazz performance at the New England Conservatory of Music, playing on the side with Bob Moses, Mike Methany, Bruce Bartlett, Duke Levine, Ruthie Ristich, Brad Hatfield, and African percussionist and ethnomusicologist David Locke. He made a two-month musical tour of Ghana in 1984. He was a long-time collaborator with Spanish vocalist Olga Roman, performing Brazilian music. In 1993, he provided Cuban rhythms for a recording project with jazz clarinet great Don Byron. Since then, he has performed and recorded with such artists as Paul Simon, Laurie Anderson, Jonatha Brooke, and Rosanne Cash.
NOWRUZ : Persian New Years Celebration! Live Music + Dance Party
Come celebrate NOWRUZ, the ancient Iranian New Years festivities! With live music, dance party, & beautiful Iranian foods!
Come celebrate NOWRUZ, the ancient Iranian New Years festivities! With live music, a dance party, beautiful Iranian foods, celebrating the enduring resilience of Persian culture and peoples.
We conjure the medicine of this joyful tradition, celebrating the coming of Spring, intoxicating our lungs with the scents of blooming flowers and the songs of the birds.
With live music by Iranian-American internationally celebrated multi-instrumentalist Lydia Violet & Special Guests! With her live band, Lydia weaves together Iranian and American roots & folk music traditions. With a lively set featuring violin, luscious vocal harmonies, banjo/setar, and percussion, we enter into the New Year with the transforming power of beauty and community.
Also featured this evening will be students of Miriam Peretz, an internationally celebrated Sufi dance instructor and performer. Miriam’s inspiration draws heavily on sacred dances from around the world, Central Asian dance, devotional Sufi whirling and ritual.
And if wouldn't be a Persian celebration without dancing! DJ Paymahn will spin your favorite Iranian dance tunes, as we culminate our celebration of cultural resilience.
Songs of Nowruz and Spring in Persian Poetry
A Lecture in Persian by Prof. Ahmad Karimi-Hakkak (Maryland University)
March 10, 2018 - 4pm - UCLA 121 Dodd Hall
The celebration known as Nowruz not only marks the start of the Iranian New Year at the vernal equinox, but it has also been widely celebrated over several millennia across a vast expanse from Anatolia, the Iranian plateau, to West and Central Asia. As a theme too, Nowruz and the spring have been a staple of Persian poetry in pre- Islamic and Islamic Iran up to modern times. The theme of Nowruz has been ceremoniously recited at royal courts, as well as in cities and villages across the Iranian world, and has provided a gauge by which the ebbs and flows of Iranian history and culture may be measured through the ages. The lecture shall explore the theme of Nowruz and various stylistic approaches to it.
Ahmad Karimi-Hakkak is a Professor of Persian Language, Literature and Culture at the University of Maryland and now a Visiting Professor at the UCLA Department of Near Eastern Languages and Cultures. He is the author, translator, and editor of twenty- three books and over one hundred academic articles, and has contributed to various leading encyclopedias, such as Britannica and Iranica. His works have been translated into many languages and the Persian translation of one of his most important books, titled Recasting Persian Poetry (Persian title: Talieh-ye Tajaddod dar Sher-e Farsi) is the standard textbook for Ph.D. programs in Persian literature in Iranian and Indian universities.
This event is made possible with the major support of the Amuzegar Chair in Iranian Studies and the Musa Sabi Term Chair of Iranian Studies in collaboration with the UCLA Center for Near Eastern Studies.
IRANIAN STUDIES OUTREACH I BILINGUAL LECTURE SERIES
Lecture in Persian
Campus and parking maps are available here.
For more information visit: iranian.ucla.edu
|Event Starts||03/10/2018 – 4:00 pm|
|Event Ends||03/10/2018 – 6:00 pm|
|Location||UCLA - Dodd Hall|
Persian traditional music
Persian traditional music or Iranian traditional music, also known as Persian classical music or Iranian classical music, refers to the classical music of Iran (also known as Persia). It consists of characteristics developed through the country's classical, medieval, and contemporary eras. It also influenced areas and regions that are considered part of Greater Iran.
Due to the exchange of musical science throughout history, many of Iran's classical modes are related to those of its neighboring cultures.
Iran's classical art music continues to function as a spiritual tool, as it has throughout history, and much less of a recreational activity. It belongs for the most part to the social elite, as opposed to the folkloric and popular music, in which the society as a whole participates. However, components of Iran's classical music have also been incorporated into folk and pop music compositions.
The history of musical development in Iran dates back thousands of years. Archaeological records attributed to "pre-Iranian" civilizations, such as those of Elam in the southwest and of Oxus in the northeast, demonstrate musical traditions in the prehistoric times.
Little is known about the music of the classical Iranian empires of the Medes, the Achaemenids, and the Parthians. However, an elaborate musical scene is revealed through various fragmentary documents, including those that were observed at the court and in public theaters and those that accompanied religious rituals and battle preparations.Jamshid, a king in Iranian mythology, is credited with the "invention" of music.
The history of Sasanian music is better documented than the earlier periods, and the names of various instruments and court musicians from the reign of the Sasanians have been attested. Under the Sasanian rule, modal music was developed by a highly celebrated poet-musician of the court named Barbad, who is remembered in many documents. He may have invented the lute and the musical tradition that was to transform into the forms of dastgah and maqam. He has been credited to have organized a musical system consisting of seven "royal modes" (xosrovāni), 30 derived modes (navā), and 360 melodies (dāstān). "Khosrau II was a great patron of music, and his most famous court musician, Barbod, was said to have developed a musical system with seven modal structures (known as the Royal Modes), thirty derivative modes, and 365 melodies, associated with the days of the week, month and year". Iran's academic classical music, in addition to preserving melody types attributed to Sasanian musicians, is based on the theories of sonic aesthetics as expounded by the likes of Iranian musical theorists in the early centuries of after the Muslim conquest of the Sasanian Empire, most notably Avicenna, Farabi, Qotb-ed-Din Shirazi, and Safi-ed-Din Urmawi. It is also linked directly to the music of the 16th–18th-century Safavid Empire. Under the reign of the 19th-century Qajar dynasty, the classical melody types were developed, alongside the introduction of modern technologies and principles from the West.Mirza Abdollah, a prominent tar and setar master and one of the most respected musicians of the court of the late Qajar period, is considered a major influence on the teaching of classical Iranian music in Iran's contemporary conservatories and universities. Radif, the repertoire that he developed in the 19th century, is the oldest documented version of the seven dastgah system, and is regarded as a rearrangement of the older 12 maqam system. During the late Qajar and the early Pahlavi periods, numerous musical compositions were produced within the parameters of classical Iranian modes, and many involved western musical harmonies.
The introduction and popularity of western musical influences in the early contemporary era was criticized by traditionalists, who felt that traditional music was becoming endangered. It was prior to the 1950s that Iran's music industry was dominated by classical musicians. In 1968, Dariush Safvat and Nur-Ali Borumand helped form an institution called the Center for Preservation and Propagation of Iranian Music, with the help of Reza Ghotbi, director of the National Iranian Radio and Television, an act that is credited with saving traditional music in the 1970s.
The "Radif of Iranian music" was officially inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2009, described as "the traditional repertoire of the classical music of Iran".
Iran's classical art music relies on both improvisation and composition, and is based on a series of modal scales and tunes including twelve Dastgahs and Avazes. Compositions can vary immensely from start to finish, usually alternating between low, contemplative pieces and athletic displays of musicianship called tahrir. The common repertoire consists of more than 200 short melodic motions (guše), which are classified into seven modes (dastgāh). Two of these modes have secondary modes branching from them that are called āvāz. This whole body is called radif, of which there are several versions, each in accordance to the teachings of a particular master (ostād).
By the end of the Safavid Empire, more complex musical movements in 10, 14, and 16 beats stopped being performed. In the early Qajar era, the rhythmic cycles (osul) were replaced by a meter based on the qazal, and the maqam system of classification was reconstructed into the radif system. Today, rhythmic pieces are performed in beats of 2 to 7, with some exceptions. The reng are always in a 6/8 time frame.
A typical Iranian classical performance consists of five parts, namely pišdarāmad ("prelude"; a composed metric piece), čahārmezrāb (a fast, metric piece with a repeated rhythmic pattern), āvāz (the improvised central piece), tasnif (a composed metric song of classical poetry), and reng (a rhythmic closing composition). A performance forms a sort of suite. Unconventionally, these parts may be varied or omitted.
Iran's classical art music is vocal based, and the vocalist plays a crucial role, as he or she decides what mood to express and which dastgah relates to that mood. In many cases, the vocalist is also responsible for choosing the lyrics. If the performance requires a singer, the singer is accompanied by at least one wind or string instrument, and at least one type of percussion. There could be an ensemble of instruments, though the primary vocalist must maintain his or her role. In some tasnif songs, the musicians may accompany the singer by singing along several verses.
The incorporation of religious texts as lyrics has largely been replaced by the works of medieval Sufi poets, especially Hafez and Rumi.
Main article: Persian musical instruments
Indigenous Iranian musical instruments used in the traditional music include string instruments such as the chang (harp), qanun, santur, rud (oud, barbat), tar, dotar, setar, tanbur, and kamanche, wind instruments such as the sorna (zurna, karna), ney, and neyanban, and percussion instruments such as the tompak, kus, daf (dayere), naqare, and dohol.
Some instruments, such as the sorna, neyanban, dohol, and naqare, are usually not used in the classical repertoire, but are used in the folk music. Up until the middle of the Safavid Empire, the chang was an important part of Iranian music. It was then replaced by the qanun (zither), and later by the western piano. The tar functions as the primary string instrument in a performance. The setar is especially common among Sufi musicians. The western violin is also used, with an alternative tuning preferred by Iranian musicians. The ghaychak, that is a type of fiddle, is being re-introduced to the classical music after many years of exclusion.
Concepts from Persian Wikipedia
The following articles on the Persian Wikipedia (easily translated with a browser such as Chrome) cover material not yet included in the English Wikipedia. It is easy to gloss over rhythm, instrument and song as having the same meanings that they have in western musical theory, when they have specific meanings in Persian musical theory.
- Reng. "Reng", is a Persian musical form, type of music for joy and dance performances, usually played in 6/8 time, a subset of "corner."
- Rhythm. "Rhythm" also called "Multiplication" consists of songs or "corners" that have a specific meter and a fixed beat pattern.
- Corner. Corner or "gūsheh" in Iranian music theory: a "row" is a collection of songs and melodies, and each of these songs is called a corner.
- Row. A "row" in the theory of Iranian music, is the arrangement of songs and melodies. Each of these songs, called a corner.
- Instrument. "Instrument" in traditional Iranian music, refers to a collection of several melodies (corners) that are in harmony with each other in steps, tunes, and intervals of notes.
- Song. "Song", here is: A special kind of musical form of song, which does not have a specific meter (in contrast to percussion songs and compositions that have a specific meter)
- ^Bithell, Caroline; Hill, Juniper (2014). The Oxford Handbook of Music Revival. Oxford University Press. p. 277.
- ^Koen, Benjamin; Lloyd, Jacqueline; Barz, Gregory; Brummel-Smith, Karen (2011). The Oxford Handbook of Medical Ethnomusicology. Oxford University Press. p. 362.
- ^Tsuge, Gen'ichi (1991). Āvāz: A Study of the Rhythmic Aspects in Classical Iranian Music. University Microfilms.
- ^ abcde"IRAN xi. MUSIC". Encyclopædia Iranica. XIII. 30 March 2012. pp. 474–480.
- ^ abcdLawergren, Bo (2016). "MUSIC HISTORY". Encyclopaedia Iranica (online ed.).
- ^"DĀSTĀN-SARĀʾĪ". Encyclopædia Iranica. VII. 18 November 2011. pp. 102–103.
- ^"GŌSĀN". Encyclopædia Iranica. Xi. 17 February 2012. pp. 167–170.
- ^Farhat, Hormoz (2012). "An Introduction to Persian Music"(PDF). Catalogue of the Festival of Oriental Music. Durham: University of Durham.
- ^"BĀRBAD". Encyclopædia Iranica. III. 15 December 1988. pp. 757–758.
- ^"ČAKĀVAK". Encyclopædia Iranica. IV. 15 December 1990. pp. 649–650.
- ^"ʿABDALLĀH, MĪRZĀ". Encyclopædia Iranica (online ed.). 21 January 2014.
- ^"ḴĀLEQI, RUḤ-ALLĀH". Encyclopædia Iranica. XV. 19 April 2012. pp. 377–380.
- ^Saba, Sadeq (26 November 2003). "Obituary: Vigen Derderian". The Guardian. London.
- ^"Radif of Iranian music". Intangible Cultural Heritage – Unesco. Retrieved 28 May 2018.
- ^"نوروز جهانی شد" ["Nowruz Became International"]. BBC Persian (in Persian). 30 September 2009.
- ^"BADĪHA-SARĀʾĪ". Encyclopædia Iranica. III. 22 August 2011. pp. 379–380.
17. Mirrazavi, Firouzeh, Persian Traditional Music, Iran Review, 2020
Middle Eastern music
Songs persian nowruz
A Brief on Persian New Year and Nowruz Song
Nowruz is the traditional Iranian festival of spring which starts at the exact moment of the vernal equinox, commencing the start of the spring. It is considered as the start of the New Year among Iranians.
Nowruz (meaning "[The] New Day") is the name of the Persian / Iranian New Year. Nowruz marks the first day of spring or Equinox as and the beginning of the year in the Persian calendar. It is celebrated on the day of the astronomical Northward equinox, which usually occurs on March 21 or the previous/following day depending on where it is observed. The moment the sun crosses the celestial equator and equalizes night and day is calculated exactly every year and families gather together to observe the rituals.
Nowruz is celebrated by people from diverse ethnic communities and religious backgrounds for thousands of years. It is a holiday that is enjoyed by people of several different faiths. It originated in Persia in one of the capitals of the Achaemenid empire in Persis (Fars) in Iran and is also celebrated by the cultural region that came under Iranian influence or had migrations by Persians including Azerbaijan, the North Caucasus, Kurdish inhabited regions of eastern Turkey and Northern Iraq, Afghanistan, Tajikistan, Turkmenistan, Uzbekistan, Kyrgyzstan, Kazakhstan and other scattered populations in Central Asia.
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