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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. History The history of musical development in Iran dates back thousands of years ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Art Music
Art music (alternatively called classical music, cultivated music, serious music, and canonic music) is music considered to be of high phonoaesthetic value. It typically implies advanced structural and theoretical considerationsJacques Siron, "Musique Savante (Serious music)", ''Dictionnaire des mots de la musique'' (Paris: Outre Mesure): 242. or a written musical tradition.Denis Arnold, "Art Music, Art Song", in ''The New Oxford Companion to Music, Volume 1: A–J'' (Oxford and New York: Oxford University Press, 1983): 111. In this context, the terms "serious" or "cultivated" are frequently used to present a contrast with ordinary, everyday music (i.e. popular and folk music, also called "vernacular music"). Many cultures have art music traditions; in the Western world the term typically refers to Western classical music. Definition In Western literature, "Art music" is mostly used to refer to music descending from the tradition of Western classical music. Musicologist Phi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jamshid
Jamshid () ( fa, جمشید, ''Jamshīd''; Middle- and New Persian: جم, ''Jam'') also known as ''Yima'' (Avestan: 𐬫𐬌𐬨𐬀 ''Yima''; Pashto/Dari: یما ''Yama'') is the fourth Shah of the mythological Pishdadian dynasty of Iran according to ''Shahnameh''. In Persian mythology and folklore, Jamshid is described as the fourth and greatest king of the epigraphically unattested Pishdadian Dynasty (before the Kayanian dynasty). This role is already alluded to in Zoroastrian scripture (e.g. ''Yasht'' 19, ''Vendidad'' 2), where the figure appears as ''Yima kshaeta'' "radiant Yima" ( ae, 𐬫𐬌𐬨𐬀 𐬑𐬱𐬀𐬉𐬙𐬀, Yima xšaēta) and from which the name 'Jamshid' is derived. Both ''Jam'' and ''Jamshid'' remain common Iranian and Zoroastrian male names that are also popular in surrounding areas of Iran such as Afghanistan and Tajikistan. Edward FitzGerald transliterated the name as ''Jamshyd''. In the eastern regions of Greater Iran, and by the Zoroastrians ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melody Type
Melody type or type-melody is a set of melodic formulas, figures, and patterns. Term and typical meanings "Melody type" is a fundamental notion for understanding a nature of Western and non-Western musical modes, according to Harold Powers' seminal article "Mode" in the first edition of the ''New Grove Dictionary of Music and Musicians'' . Melody types are used in the composition of an enormous variety of music, especially non-Western and early Western music. Such music is generally composed by a process of centonization, either freely (i.e. improvised) or in a fixed pattern. "Melody type" as used by the ethnomusicologist Mark is defined as a "group of melodies that are related, in that they all contain similar modal procedures and characteristic rhythmic and melodic contours or patterns". Most cultures which compose music in this way organize the patterns into distinct melody types. These are often compared to modern Western scales, but they in fact represent much more ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Khosrow II
Khosrow II (spelled Chosroes II in classical sources; pal, 𐭧𐭥𐭮𐭫𐭥𐭣𐭩, Husrō), also known as Khosrow Parviz (New Persian: , "Khosrow the Victorious"), is considered to be the last great Sasanian king (shah) of Iran, ruling from 590 to 628, with an interruption of one year. Khosrow II was the son of Hormizd IV (reigned 579–590), and the grandson of Khosrow I (reigned 531–579). He was the last king of Iran to have a lengthy reign before the Muslim conquest of Iran, which began five years after his execution. He lost his throne, then recovered it with the help of the Byzantine emperor Maurice, and, a decade later, went on to emulate the feats of the Achaemenids, conquering the rich Roman provinces of the Middle East; much of his reign was spent in wars with the Byzantine Empire and struggling against usurpers such as Bahram Chobin and Vistahm. After the Byzantines killed Maurice, Khosrow II began a war in 602 against the Byzantines. Khosrow II's forces cap ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Makam
The Turkish makam ( Turkish: ''makam'' pl. ''makamlar''; from the Arabic word ) is a system of melody types used in Turkish classical music and Turkish folk music. It provides a complex set of rules for composing and performance. Each makam specifies a unique intervalic structure (''cinsler'' meaning genera) and melodic development (''seyir''). Whether a fixed composition (''beste'', ''şarkı'', ''peşrev'', ''âyin'', etc.) or a spontaneous composition (''gazel'', ''taksim'', recitation of ''Kuran-ı Kerim'', ''Mevlid'', etc.), all attempt to follow the melody type. The rhythmic counterpart of makam in Turkish music is usul. Comparison in use in Turkish classical to folk music Turkish Classical Music and Turkish Folk Music are both based on modal systems. Makam is the name of the scale in classical music, while Ayak is the name of the scale in folk music. Makam and Ayak are similar; following are some examples: Yahyalı Kerem Ayağı : Hüseyni Makamı Garip Ayağı : Hicaz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dastgah Music
Iranian/Persian traditional music (also known as ''mūsīqī-e sonnatī-e īrānī'' or ''mūsīqī-e aṣīl-e īrānī'') is now modernly classified into the Dastgāh system. This system is a modal system, in the fact that it utilizes distinct modes of music, in this case seven. Each of these seven modes, referred to as ''Dastgāh'', are then classified into smaller units (usually only one), each called an ''āvāz''. Every ''āvāz'' consists of short pieces and melodies of music called the ''gousheh'' that, although each has its own characteristics, share one central characteristic in the ''āvāz''. The seven main ''Dastgāh'' of Iranian music are modernly known as ''Shour'', ''Māhour'', ''Homāyoun'', ''Segāh'', ''Chāhārgāh'', ''Rāstpanjgāh'', and ''Navā''. Each of these seven is considered to be its own ''āvāz''. Yet, ''Dastgāh-e Shour'' also contains the four ''āvāz-e Abou'atā'', ''āvāz-e Bayāt-e-Tork'', ''āvāz-e Afshāri'', and ''āvāz-e Dashti'' along ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lute
A lute ( or ) is any plucked string instrument with a neck and a deep round back enclosing a hollow cavity, usually with a sound hole or opening in the body. It may be either fretted or unfretted. More specifically, the term "lute" can refer to an instrument from the family of European lutes. The term also refers generally to any string instrument having the strings running in a plane parallel to the sound table (in the Hornbostel–Sachs system). The strings are attached to pegs or posts at the end of the neck, which have some type of turning mechanism to enable the player to tighten the tension on the string or loosen the tension before playing (which respectively raise or lower the pitch of a string), so that each string is tuned to a specific pitch (or note). The lute is plucked or strummed with one hand while the other hand "frets" (presses down) the strings on the neck's fingerboard. By pressing the strings on different places of the fingerboard, the player can sho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Barbad
Barbad or Bārbad ( fa, باربد; various other names; ) was a Persian poet-musician, lutenist, music theorist and composer of Sasanian music who served as chief minstrel-poet under Shahanshah Khosrow II (). A '' barbat'' player, he is among the major figures in the history of Iranian/Persian music and was the most distinguished Persian musician of his time. He appears frequently in later Persian literature, most famously in Ferdowsi's ''Shahnameh''. The content and abundance of such references demonstrate his unique influence on the music and culture of his time, with some sources declaring him the "founder of Persian music". Despite scarce biographical information, Barbad's historicity is generally secure. Purportedly born in Merv or Jahrom, Barbad served most of his career under Khosrow, who held him in high regard. He interacted closely and rivaled with other musicians of his time, such as Sarkash. After Khosrow's assassination, sources vary as to whether Barbad was murd ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mode (music)
In music theory, the term mode or ''modus'' is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. ( Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek ''tonoi'' do not otherwise resemble their mediaeval/modern counterparts. In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation system ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sasanian Empire
The Sasanian () or Sassanid Empire, officially known as the Empire of Iranians (, ) and also referred to by historians as the Neo-Persian Empire, was the History of Iran, last Iranian empire before the early Muslim conquests of the 7th-8th centuries AD. Named after the Sasanian dynasty, House of Sasan, it endured for over four centuries, from 224 to 651 AD, making it the longest-lived List of monarchs of Persia, Persian imperial dynasty. The Sasanian Empire succeeded the Parthian Empire, and re-established the Persians as a major power in late antiquity alongside its neighbouring arch-rival, the Roman Empire (after 395 the Byzantine Empire).Norman A. Stillman ''The Jews of Arab Lands'' pp 22 Jewish Publication Society, 1979 International Congress of Byzantine Studies ''Proceedings of the 21st International Congress of Byzantine Studies, London, 21–26 August 2006, Volumes 1–3'' pp 29. Ashgate Pub Co, 2006 The empire was founded by Ardashir I, an Iranian ruler who rose to po ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sasanian Music
Sasanian music encompasses the music of the Sasanian Empire, which existed from 224 to 651 CE. Many Sasanian Shahanshahs were enthusiastic supporters of music, including the founder of the empire Ardashir I and Bahram V. In particular, Khosrow II () was an outstanding patron, his reign being regarded as a golden age of Persian music. Persian classical music dates to the sixth century BCE; during the time of the Achaemenid Empire (550–331 BCE), music played an important role in prayer and in royal and national events. But Persian music had its zenith during the Sasanian dynasty from 224 until 651 CE. In this era, many of Persian music's ''dastgahs'' and modes were invented, most of them traditionally attributed to Barbad. He employed 30 sounds for music. Naturally he recorded his inspirations and performed them for his audience, since if he did not, he could not play them again. Dance and ''chanson'' were prevalent in court banquets. It said that on several occasions Persian mu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sassanid Music Plate 7thcentury
The Sasanian () or Sassanid Empire, officially known as the Empire of Iranians (, ) and also referred to by historians as the Neo-Persian Empire, was the History of Iran, last Iranian empire before the early Muslim conquests of the 7th-8th centuries AD. Named after the Sasanian dynasty, House of Sasan, it endured for over four centuries, from 224 to 651 AD, making it the longest-lived List of monarchs of Persia, Persian imperial dynasty. The Sasanian Empire succeeded the Parthian Empire, and re-established the Persians as a major power in late antiquity alongside its neighbouring arch-rival, the Roman Empire (after 395 the Byzantine Empire).Norman A. Stillman ''The Jews of Arab Lands'' pp 22 Jewish Publication Society, 1979 International Congress of Byzantine Studies ''Proceedings of the 21st International Congress of Byzantine Studies, London, 21–26 August 2006, Volumes 1–3'' pp 29. Ashgate Pub Co, 2006 The empire was founded by Ardashir I, an Iranian ruler who rose to po ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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