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Gholam Reza Minbashian was the son of Nasrollah, an electrical engineer, and of Qamar al-Zaman, possibly the first woman in Persia/Iran to play the piano.He was born in Tehran in 1861 and studied music at Tehran's Polytechnic, known as Dar ul-Funun, the first higher education institution in Persia where music was the subject of academic education.
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 ...
Later, the arrival of new western influences, such as the use of the guitar and other western instruments, marked a turning point in Iran's popular music by the 1950s. [18] 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.
Dariush Safvat (Persian: داريوش صفوت ; 28 November 1928 – 17 April 2013) also spelled as Daryush Safvat, [1] was an Iranian master Persian traditional musician, teacher, and ethnomusicologist. [2] Safvat is best known for his mastery of setar and santur instruments. [3]
Dastgāh-e Māhūr or Dastgaah-e Maahur (Persian: دستگاه ماهور; Azerbaijani: Mahur) is one of the seven Dastgāhs of Persian Music (Classically, Persian Music is organized into seven Dastgāhs and five Āvāzes, however from a merely technical point of view, one can consider them as an ensemble of 12 Dastgāhs).
Dastgāh (/ d æ s t ˈ ɡ ɑː /; Persian: دستگاه, Classical: [dastˈɡɑːh], Iran: [dæstˈɡɒː(h)]) is the standard musical system in Persian art music, standardised in the 19th century following the transition of Persian music from the Maqam modal system. A dastgāh consists of a collection of musical melodies, gushehs.
Tahrir is a melismatic form in Persian classical singing that employs a vocal technique involving rapid glottal strokes over a series of notes. [1] It is considered "an ornament of the melodic line," consisting of one or more short frequency jumps—called tekye—towards higher pitches. [2] Tahrir is sometimes referred to as a form of yodeling ...
The 5th above (marked with "M") is a Moteqayyer (meaning variable in Persian). When the melodic line is descending, it is usually lowered by a micro tone from a to a (a koron ). This lowering is responsible for the creation of a sense of finalis for the 4th above, since by lowering the a ♮ to a , the original tetrachord is recreated from g.