Academic literature on the topic 'Iranian musicians'
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Journal articles on the topic "Iranian musicians"
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Steward, Theresa Parvin. "Beyond a Politicization of Persian Cats." Middle East Journal of Culture and Communication 13, no. 1 (May 13, 2020): 7–27. http://dx.doi.org/10.1163/18739865-01301001.
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Abstract In this article I assess the convoluted relationship between Iranian popular musicians and the Western media. Iranian music is generally discussed within a framework of resistance and Iranian musicians are often presented as political ‘revolutionaries’. In this process, many contradictions emerge; musicians crave publicity and recognition, yet resist it in an attempt to present an image of themselves as part of a subversive Iranian ‘underground’, a highly-laden term which in itself is much contested among Iranian musicians. By examining specific media representations, interviewing musicians, and portraying them in an Iranian film marketed toward Western audiences, Bahman Ghobadi’s No One Knows About Persian Cats (2009) illustrates how Iranian musicians exist in a multi-faceted world, beyond protest and defiance. Musicians actively participate in their representation in the media by simultaneously perpetuating certain collective images and attempting to portray a unique sense of self-identity.
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Caton, Margaret. "Introduction to Traditional Iranian Dastgāh Music." Middle East Studies Association Bulletin 28, no. 1 (July 1994): 31–33. http://dx.doi.org/10.1017/s0026318400028492.
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Traditional iranian dastgāh music, as fostered in the courts and the homes of the aristocracy, draws from many sources, including regional music styles, religious genres of melody and chant and popular songs that have been reworked by master musicians and their students. In different regional capitals, musicians acquired their repertoire from their master teacher through a process of listening and repetition and also drew from local sources of music, incorporating these into their own unique version of this repertoire of traditional melodies and melodic fragments.
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Lucas, Ann. "Understanding Iran Through Music: A New Approach." Middle East Studies Association Bulletin 40, no. 1 (June 2006): 79–89. http://dx.doi.org/10.1017/s0026318400049439.
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Within the realm of Iranian studies, music remains mostly outside the purview of larger social and political discussions of the region. At first glance this may seem appropriate, since even musicians often consider their work beyond the reach of sociological discussions. But the behavior of Iranians suggests that music has a broader social and political role beyond narrowly defined musical contexts. Music is a common part of everyday life in Iran. In traditional contexts such as weddings and other family gatherings as well as in modern settings such as the car, the computer, or the concert hall, most Iranians experience music on a daily basis. Music's influential role in Iranian society has made it the target of constant government scrutiny both before and after the Islamic Revolution. The current Islamic government's need to control and approve of every aspect of music making demonstrates a keen understanding of music's influence in the country. Hence whether Iranians are listening to it, dancing to it, performing it, or banning it, the message is the same: music is a powerful force that affects key aspects of Iranian society. For this reason music can offer a unique perspective on a variety of topics relevant to students and scholars of modern Iran.
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Mohammadi, Mohsen. "Marche Triomphale: A Forgotten Musical Tract in Qajar-European Encounters." Iranian Studies 55, no. 3 (July 2022): 765–76. http://dx.doi.org/10.1017/irn.2021.65.
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AbstractThis article introduces Julius Heise’s Marche Triomphale which reveals a history that was eliminated during the nineteenth century race theory publications. Beginning with an account of Iranians’ encounters with European military music, this article provides a brief history of Iranian military bands in European style, or the bands of muzikānchiān. It then addresses racial motivations behind a short account on Iranian music in 1885 by Victor Advielle, a French administrator. Arthur de Gobineau’s race theories were fashionable in nineteenth century Europe, and Victor Advielle used his fellow Artesian, Alfred Lemaire, to prove their racial superiority. Through Advielle’s account, Lemaire became the main figure of European music in Iran in the last quarter of the nineteenth century. The article proceeds with biographical information on two European musicians, Marco Brambilla (d.1867 in Tehran) and Julius Heise (d.1870 in Tehran), and uncovers the earliest known piece published for the bands of muzikānchiān: Marche Triomphale, À Sa Majesté Impériale Nassir-Ed-Din Shah Kadjar de Perse.
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Mehrparvar, Amir H., Mehrdad Mostaghaci, and Raman F. Gerami. "Musculoskeletal Disorders Among Iranian Instrumentalists." Medical Problems of Performing Artists 27, no. 4 (December 1, 2012): 193–96. http://dx.doi.org/10.21091/mppa.2012.4036.
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Musicians as an occupational group are exposed to various ergonomic exposures which may lead to musculoskeletal problems. In this study we assessed the frequency of musculoskeletal disorders (MSDs) among Iranian instrumentalists (using traditional Iranian and western instruments). Methods: In a cross-sectional study we assessed the frequency of MSDs in 356 Iranian instrumentalists by standardized Nordic musculoskeletal questionnaire according to age group, type of instrument, duration of playing, and playing/sitting position. Data were analyzed using chi-squared, t-test and ANOVA. Results: Overall, 158 of 356 subjects (44.4%) experienced MSDs, mostly with mild or moderate symptoms. Frequency of MSDs was significantly higher in females but it was not significantly related to body mass index, duration of employment, and duration of playing or teaching. Conclusion: Our study showed a high frequency of MSDs among Iranian instrumentalists, so paying attention to the ergonomic exposures of instrumentalists as an occupational group is important. To the best of our knowledge, this is the first study on players of different Iranian instruments to have considered ergonomic risk factors.
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Sangari, Esmaeil. "L’iconographie et le statut de femmes sur les bas-reliefs sassanides (224-651 apr. J.-C.)." Iran and the Caucasus 24, no. 2 (June 23, 2020): 139–66. http://dx.doi.org/10.1163/1573384x-20200203.
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So far, more than forty Sasanian bas-reliefs have been discovered in numerous archaeological sites. Among them, eleven bas-reliefs in seven archaeological sites represent women on them. In this article, the eleven bas-reliefs and the women’s images and their characteristics in different scenes have been analyzed and studied. It can be concluded that women on these bas-reliefs have been represented in the social-cultural fields, such as in the royal family or as goddesses, musicians, etc. Most of the female characters on the bas-reliefs belong to the upper classes of the Iranian society.
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Jain, Sunita. "GREAT MUSICIAN TANSEN." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3447.
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Tansen was a great musician. Abul Fazl describes the eminence of various musicians under the benevolent patronage of Emperor Akbar, the first place in which music is given to Emperor Tansen. Tansen was the best talented musician of that era. Praising Tansen, Abul Fazal wrote, "A singer like him in India has not been born for a thousand years". Tansen was born in 1531-32 in a Gaud Brahmins family in Behat village, about 43 km from Gwalior. His initial name was Trilochan Pandey, he had a special interest in music since childhood. Naresh Mansingh Tomar of Gwalior had established a music school in Gwalior which continued for many years even after the Mughals had taken over Gwalior. Tansen received his early education in this music school. He received music education from the famous saint singer Baba Haridas of Guru Vrindavan of his Tau Baba Ramdas, in addition to this he also learned singing from Mohammad Gaus and also learned Iranian music.
तानसेन एक महान संगीतज्ञ थे। अबुल फजल बादशाह अकबर के उदार संरक्षण में विभिन्न संगीतज्ञों के होने का वर्णन करता है, उनमें वह पहला स्थान संगीत सम्राट तानसेन को प्रदान करता है।। तानसेन उस युग के सर्वश्रेष्ठ प्रतिभावान संगीतज्ञ थे। तानसेन की प्रशंसा करते हुए अबुल फजल ने लिखा है ’’ भारत में उसके समान गायक एक सहस्त्र वर्षो से नहीं हुआ’’ तानसेन का जन्म 1531-32 में ग्वालियर से लगभग 43 किलोमीटर दूर बेहट ग्राम में एक गौड़ ब्राम्हण परिवार में हुआ था। इनका प्रारंभिक नाम त्रिलोचन पांडे था, बाल्यकाल से ही उन्हें संगीत में विशेष अभिरूचि थी। ग्वालियर के नरेश मानसिंह तोमर ने ग्वालियर में एक संगीत शाला स्थापित की थी जो मुगलों द्वारा ग्वालियर पर अधिकार कर लेने के बाद भी कई वर्षो तक विद्यमान रही। तानसेन ने इसी संगीत शाला में संगीत की प्रारंभिक षिक्षा प्राप्त की थी। इन्होंने अपने ताउ बाबा रामदास के गुरू वृन्दावन के तत्कालिन प्रसिद्ध संत गायक बाबा हरिदास से संगीत की शिक्षा प्राप्त की थी इसके अतिरिक्त उन्होंने मोहम्मद गौस से भी गायन विद्या सीखी तथा ईरानी संगीत का भी ज्ञान प्राप्त किया।
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Skilbeck, Ruth. "Arts journalism and exiled writers: a case study of fugal, reflexive practice." Pacific Journalism Review : Te Koakoa 15, no. 2 (October 1, 2009): 132–51. http://dx.doi.org/10.24135/pjr.v15i2.988.
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Arts journalism and reflective practice intersect in a new field of ‘journalism as research’ (Bacon 2006). This article takes an innovative approach informed by the multimodal, musical and psychogenic fugue to discuss a case study of arts journalism reflexive practice. The journalistic research topic is the impact of the traumatic journey of exiled writers on their creative writing, the empathetic effects of trauma and courage on their advocates and the impacts of researching trauma on the researcher. The journalistic, interview-based articles discussed in the case study are on exiled writers in Australia, Iranian poet-musician Mohsen Soltany Zand and Ivory Coast political journalist Cheikh Kone. In reflecting on processes of writing of the stories, the author begins to outline the foundations of an innovative, critical fugal methodology of reflexive practice for modes and pieces of arts journalism.
Image: Exiled Iranian poet-musician Mohsen Soltany Zand giving a reading at Bar Me, Kings Cross, Sydney, September 2007. Photo: Ruth Skilbeck
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Niknafs, Nasim. "In a box: a narrative of a/n (under)grounded Iranian musician." Music Education Research 18, no. 4 (July 13, 2016): 351–63. http://dx.doi.org/10.1080/14613808.2016.1202222.
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Irfani, Suroosh. "New Discourses and Modernity in Postrevolutionary Iran." American Journal of Islam and Society 13, no. 1 (April 1, 1996): 13–27. http://dx.doi.org/10.35632/ajis.v13i1.2348.
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Iran’s social and cultural climates seem to have undergone a relativerelaxation in recent years. The end of the Iran-Iraq war (1988), the deathof Ayatollah Khomeini (1989), and the emergence of Ali Akbar HashemiRafsanjani as president are some of the factors affecting this development.A cursory analysis of the level of literate intellectual culture-print media, film industry, literature, and music-reveals the range andnature of some cultural activities in post-1979 Iran. For example, between1981-91, the number of book titles published annually increased from3,500 to 8,600, periodicals from 100 to 501, and public libraries from 415to 550 units, while the number of people using libraries rose from 4 million(1981) to 14 million (1991). In the film industry, despite a vigilantcensor, Iranian cinema matured and acquired a new character, a developmentdescribed as “the most stimulating event in arts” over the lastdecade. More films were made by the local film industry and screened ininternational film festivals in 1990-91 than during any single year prior tothe 1979 revolution.A paradoxical linkage between constraints on cultural activities andthe flowering of creative potential also applies to music. DespiteKhomeini’s fatwa banishing music from the national radio and TV for atime,’ it is now claimed that the creative range of modem Persian musicis unmatched in the sixty years of its recorded history. In literature, theemergence of new writers, new experiments in form and technique, aswell as a phenomenal growth in the readership, sale, and publication ofworks by contemporary Iranian authors have enriched the cultural sceneconsiderably? With sales of each best-selling title running between15,000 to 35,000, together with the impressive quality of the works produced,the literary arena appears to be more buoyant than at any otherperiod of recent Iranian history.” ...
Dissertations / Theses on the topic "Iranian musicians"
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Amani, Majid. "Incorporating Classical Persian Performance Practice into the Delivery of Modern Compositions for Classical Guitar." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29762.
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Persian classical guitar repertoire falls largely into two categories. The first is a collection of early works by Persian composers that reflects European compositional styles and rarely show signs of the modes and melodic gestures associated with Persian traditional repertoire (radif) or folk music. A more recent trend incorporates the sounds and spirit of Persian classical music in two distinct ways: a) pieces that apply thematic material derived from Persian music, and b) pieces inspired by the improvisational aesthetics of Persian music. The main question this thesis seeks to answer is: “How can we bring performance practices associated with classical Persian music into the delivery of modern compositions based on Persian music?” In this thesis, I draw out of the literature specific sites of agency in Persian music performance practice, including but not limited to ornamentation, melodic phrasing, various types of melodic and rhythmic variation, and intonation. Through a comparative study of recordings, I then map out the wide range of approaches to performance this agency yields and ponder how the spectrum of practices documented in this analysis might inform the delivery of five pieces written for the classical guitar: Khorasani and Nava by Mehrdad Pakbaz, Five Persian Miniatures by Dušan Bogdanović, Nam by Carlo Domeniconi, and my own composition for flute and guitar, Le Yarei. The lecture recital submitted as my major creative work presents stylisations of these compositions that draw on the findings of my performance practice analysis.
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Chaoulli, Alain. "Les musiciens juifs en Iran aux XIXe et XXe siècles et leur contribution à la sauvegarde du patrimoine musical iranien." Paris 3, 2002. http://www.theses.fr/2002PA030008.
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La présence des musiciens juifs et leur contribution à la sauvegarde de la musique traditionnelle est une réalité reconnue par la plupart des Iraniens. Et dans les livres sur les musiciens en Iran, les noms des musiciens juifs sont cités, associés à d'autres musiciens généralement musulmans, avec qui ils ont joué. Leur présence a été telle qu'on a parlé de caste de musiciens juifs. Pourquoi les juifs ont-ils occupé une telle position dans la société iranienne ? Quelle a été leur histoire pour qu'ils aient occupé une place aussi importante dans la vie musicale persane? Il faut admettre que si les juifs se sont intéressés à la musique traditionnelle, ce n'est pas par hasard et il y a probablement beaucoup de réponses pour l'expliquer. Historiquement, ils se sont intégrés dans la société iranienne après 2700 ans de coexistence, d'abord avec les zoroastriens, puis avec les musulmans avec l'arrivée de l'Islam. C'est aussi évidemment parce que la religion interdisait aux musulmans de jouer de la musique. .The presence of Jewish musicians in Iran and their contribution to protect traditional music is a recognized fact for most Iranians. Books dealing with musicians in Iran, quote the names of Jewish musicians along with other musicians, generally Muslims, with whom they once played. Their significant presence led some people to speak of a cast of Jewish musicians. Why did the Jews hold such a prominent position in Iranian Society ? What was their history to make them so important to Persian musical life ? It has been recognized that the Jews' interest in traditional music is not a matter of chance, and there are probably several explanations. Historically, they were integrated into Iranian society after 2700 years of coexistence, first with the Zoroastrians, then with Muslim, once Islam appeared. Another obvious reason is that religion prohibited the Muslims from playing music. .
Books on the topic "Iranian musicians"
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Khusravī, ʻAlī. Naqshī bih yād ...: Yād-i hunarmandān-i mūsīqī-i Īrān = : Homage, to Iranian musical artists. Tihrān: Nigār, 1991.
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Khaṭībī, Parvīz. Khāṭirātī az hunarmandān. Lus Ānjilis: Bunyād-i Farhangī-i Parvīz Khaṭībī, 1994.
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Khaṭībī, Parvīz. Khāṭirātī az hunarmandān. Lus Ānjilis: Bunyād-i Farhangī-i Parvīz Khaṭībī, 1994.
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Ḥannānah, Shahīn. Pusht-i darīchahh́ā: Guftgū bā hamsarān-i hunarmandān. Tihrān: Dunyā-yi Mādar, 1992.
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Ḥannānah, Shahīn. Pusht-i darīchahʹhā: Guft va gū bā hamsarān-i hunarmandān. Tihrān: Ṣadā-yi Muʻāṣir, 1997.
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Shahīn, Ḥannānah, ed. Pusht-i darīchahʹhā: Guftugū bā hamsarān-i hunarmandān. Tihrān: Dunyā-yi Mādar, 1992.
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editor, Brackstone Lee, and Gelderen, Oscar van, writer of afterword, eds. Golden years. 2016.
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Nooshin, Laudan. (Re-)imagining improvisation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0019.
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What role does the concept of improvisation play in how we imagine ‘sameness’ and ‘difference’ in music? How do the verbal discourses around creative practice serve to mark musical boundaries? This chapter considers such questions in the context of Iranian music. Specifically, the chapter explores how the concept of improvisation has been understood, constructed and imagined in Iran, particularly in recent years as musicians have sought to position Iranian music within a global network of ‘improvised’ music through which the music accrues associations such as the idea of ‘improvisation as freedom’ or as a means of invoking cross-cultural universals. The chapter argues that in the context of Iran, the significance of improvisation as a concept lies less in its ability to describe musical process and more in its enabling musicians to position their music around particular understandings of ‘sameness’ and ‘difference’.
Book chapters on the topic "Iranian musicians"
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Mottahedeh, Negar. "Black Seals: Missive From Iran’S National Music." In Counter-Memories in Iranian Cinema, edited by Matthias Wittmann and Ute Holl, 85–98. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474479752.003.0006.
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In her contribution »Black Seals: Missive from Iran’ National Music,« Negar Mottahedeh places the genealogy of counter-memories within a history of exchange between the East and the West. Focusing on Delshodegān/Love Stricken (1992), a highly popular Iranian post-revolution fiction film by director Ali Hatami, Mottahedeh’s enunciation-oriented investigation tracks down the transcultural exchange nesting in the practices of inscriptive and reproductive technologies. Mottahedeh carves out the layers and levels of Hatami’s ambiguous landscape of split enunciations, which undermines its own national statements, illustrating »how undeniably the nation and its cinema is produced on the grounds of cultural confluences, wedged in the contradictions of a forked tongue« (p. 97). Set in turn-of-the-nineteenth-century Iran, Love Stricken »traces the peregrinations of a group of early twentieth-century musicians to Paris to record traditional music on the newly invented gramophone« (p. 87). While on the surface the film presents characters who find their identity in national and traditional music, on a media-reflexive level it undermines precisely this claimed identity since the music – and thus, national identity – turns out to be a product of cross-cultural montage and the interplay between self-export and re-import of studio recordings abroad.
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Lemish, Noam, Peter Lemish, Parisa Sabet Sarvestani, and Dan Deutsch. "“In Toronto, Iranians and Israelis Make Music, Not War”." In Advances in Media, Entertainment, and the Arts, 127–48. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1986-7.ch007.
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Engaged musicking creates enjoyable, meaningful aesthetic experiences and strengthens citizen engagement in public policy. This case study of March 2015 Converging Paths concert in Toronto, organized by the Israeli-Iranian Musical Initiative, demonstrates how acting through this worldview included political communication as a key sphere of action. Applying Mannheim's Documentary Approach, three interpretations are presented: The Objective Interpretation details what occurred. Subjective Interpretation presents analyses of organizer-composer-musicians' explanations for why and how they constructed and communicated their alternative political narrative. Documentary Interpretation explains how organizers' initiatives, including political communication, are consonant with efforts by critical communicators, conflict transformation through social change, audiotopias.