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Iranian Intermezzo, [2] or Persian Renaissance, [3] was a period in Iranian history which saw the rise of various native Iranian Muslim dynasties in the Iranian Plateau, after the 7th-century Arab Muslim conquest and the fall of the Sasanian Empire.
Iranian pop music is commonly performed by vocalists who are accompanied with elaborate ensembles, often using a combination of both indigenous Iranian and European instruments. [1] The pop music of Iran is largely promoted through mass media, but it experienced some decade of prohibition after the 1979 Revolution.
Dancers on a piece of ceramic from Cheshmeh-Ali (Shahr-e-Rey), Iran, 5000 BC now at the Louvre. The people of the Iranian plateau have known dance in the forms of music, play, drama or religious rituals and have used instruments like mask, costumes of animals or plants, and musical instruments for rhythm, at least since the 6th millennium BC.
Persian traditional music or Iranian traditional music, also known as Persian classical music or Iranian classical music, [1] [2] [3] refers to the classical music of Iran (historically known as Persia). It consists of characteristics developed through the country's classical, medieval, and contemporary eras.
In music, an intermezzo (/ ˌ ɪ n t ər ˈ m ɛ t s oʊ /, Italian pronunciation: [interˈmɛddzo], plural form: intermezzi), in the most general sense, is a composition which fits between other musical or dramatic entities, such as acts of a play or movements of a larger musical work.
The term Iranian Intermezzo [b] represents a period in Middle Eastern history that saw the rise of various native Iranian Muslim dynasties on the Iranian Plateau. This term is noteworthy since it was an interlude between the decline of Abbasid rule and the eventual emergence of the Seljuk Turks in the 11th century. The Iranian revival consisted ...
In the Balochi language, the term "gowati" refers to psychologically ill patients who have recovered through music and dance. [43] [44] The earliest researched dance from Iran is a dance worshiping Mithra, the Zoroastrian angelic divinity of covenant, light, and oath, which was used commonly by the Roman Cult of Mithra. [45]
In modern times, Bahram Beyzai has made the most significant contribution in the historiography of Persian theatre with his seminal book, A Study on Iranian Theatre (1965). [25] Other works include Willem Floor's book, The History of Theater in Iran (2005), [26] and William O. Beeman's book, Iranian Performance Traditions (2011). [27]