Search Results for “iranian musical instruments”

• DOZĀLA

  Jean During

  kind of flute consisting of two parallel pipes pierced with holes and fitted with a removable vibrating mouthpiece made by cutting a U-shaped incision into a thin reed.

• INDIA xxvi. MUTUAL MUSICAL INFLUENCES

  cross-reference

    See under MUSIC.

• GUILLEMIN, MARCELLE

  Anne Draffkorn Kilmer

  One of the early investigators of the reconstruction of ancient Babylonian musical scales and music theory, she was the first scholar to explore and explain the musicological significance of the sequence of number-pairs of musical strings in a cuneiform text of the first millennium B.C.E. excavated at the archaeological site of Nippur in southern Iraq.

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• ČAḠĀNA

  Ḥosayn ʿAlī Mallāḥ

  the name given to four types of musical instruments. This spelling is found in most dictionaries. Sachs’ Real-Lexikon has čaqāna, and other forms are also found: čaḡān, čaḡana, and čaḡba; in Arabic jaḡāna or jafāna.

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• YĀḤAQQI, Ḥosayn

  Morteżā Ḥoseyni Dehkordi

  (1903-1968) renowned composer and performer of the violin and the kamānča (spiked fiddle) and instructor of music.

• DOTĀR

  Jean During

  long-necked lute of the tanbūr family, usually with two strings (do tār). The principal feature is the pear-shaped sound box attached to a neck that is longer than the box and faced with a wooden soundboard. Dotārs can be classified in several different types.

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• BAYĀT(Ī)

  J. During

  one of the old modes of the Irano-Arabic musical tradition, mentioned for the first time by Šayḵ Ṣafadī (15th century).

• ČAHĀRTĀR

  Jean During

  (lit. four-strings), a musical instrument belonging to the family of long-necked lutes.

• ČANG

  Ḥosayn-ʿAlī Mallāḥ

  In Persian literature, particularly in poetry, the harp kept an important place. In the Pahlavi text on King Ḵosrow and his page the čang player is listed among the finest of musicians. The harp was also one of the instruments played by the inmates of the harem.

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• ʿĀŠEQ HAWĀSĪ

  C. F. Albright

  “melody of the ʿāšeq,” term referring to (1) a type of poem often sung by ʿāšeqs in Iranian Azerbaijan and (2) the typical manner of singing the poem and the manner of accompanying it on the musical instrument.

• KARNĀ

  Stephen Blum

  designation of three types of musical instrument, the most prestigious being long trumpets made of brass, gold, silver, or other metals. Two regional instruments of Iran are also called karnā. Like the metal karnā, the long reed trumpet of Gilān and Māzandarān lacks fingerholes.

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• FALAKA

  Mahmoud Omidsalar

  also falak, čūb o falak; one of the most common instruments of corporal punishment in Persia.

• PIANO IN PERSIAN MUSIC

  Hormoz Farhat

  The first piano is known to have arrived in Persia as a gift from Napoleon Bonaparte to Fatḥ ʿAli Shah.

• AZERBAIJAN xi. Music of Azerbaijan

  J. During

  Iranian elements in the development of the Azeri tradition were numerous, as is shown by modern terminology (čahār meżrāb, bardāšt), as well as by certain pieces in the repertoire.

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• BARBAṬ

  J. During

  the prototype of a family of short-necked lutes characterized by a rather flat, pear-shaped sound box.

• HEDĀYAT, MOḴBER-AL-SALṬANA ii. AS MUSICIAN

  Ameneh Yousefzadeh

  Apart from a book about musical theory, the Majmaʿ al-adwār (Tehran, 1938), we owe him one of the earliest complete notations of the repertoire of Persian music (radifs).

• KEREŠMA

  Gen’ichi Tsuge

  a musical term denoting a guša, or a metric section within a guša, based on any dastgāh.

• DAF(F) AND DAYERA

  Jean During, Veronica Doubleday

  terms applied to types of frame drum common in both the art music and popular traditions of Persia. Such drums have long been known throughout Asia in various forms and under different names.  The term dāyera originally referred to the flat, circular drums of pre-­Islamic Arabia.

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• BŪSALĪK

  Hormoz Farhat

  a maqām in Arabian, Turkish, and Persian musical traditions to this day; however, the contemporary form of the maqām of Būsalīk differs from that which is given by the classical scholars.

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• DRUMS

  Jean During

  large group of percussion instruments.

• DASĀTĪN

  Jean During

  the term for modes in early musical theory, translated into Arabic as aṣābeʿ (fingers) and sometimes also as mawājeb “obligations, laws.”

• FĀRESĪYĀT

  Aḥmad Mahdawī Dāmḡānī

  a literary term used in Arabic literature to refer to poems in Arabic which contain some Persian words or even phrases in their original form, the most notable example being the Fāresīyāt of Abū Nowās.

• DARĀMAD

  Jean During

  lit., “introduction”; an episode in the course of a musical performance, the nature and length of which vary with the material introduced.

• RAM, Emad

  Morteżā Ḥoseyni Dehkordi

  (1931-2003), composer, vocalist, and flute player.

• BAM (1)

  W. Eilers

  (also written bām) “bass,” the lowest-pitched string in music. The etymology is discussed.

• Mirqambar

  music sample

• FORUTAN, YŪSOF

  Jean During

  a twentieth century master of Persian music.

• MAʿRUFI, Jawād

  Morteżā Ḥoseyni Dehkordi and EIr

  Persian composer and pianist (1915-1993).

• TEHRĀNI, Ḥosayn

  Morteżā Ḥoseyni Dehkordi

  (1911-1973) well-known master performer of the tonbak.

• ESḤĀQ MAWṢELĪ

  Everett K. Rowson

  (767?-850), prominent musician at the ʿAbbasid court in Baghdad and the successor of his equally famous father Ebrāhīm Mawṣelī as leader of the conservative school of musicians of the time.

• DĀD (2)

  Jean During

  a vocal and instrumental gūša (motif), in reality more of a melodic type than a modal structure.  

• ŠAHNĀZI, ʿAbd-al-Ḥosayn

  Morteżā Ḥoseyni Dehkordi

  (1905-1948) musician and performer of the tār (a plucked long-necked lute).

• KAMĀNČA

  Stephen Blum

  The kamānča has a spherical sound cavity of mulberry or walnut wood, covered with sheepskin. Most instruments have four steel strings and are played with a horsehair bow. As the name of the Iraqi joza suggests, its sound cavity is made of coconut, covered with sheepskin or fish skin.

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• HORMOZI, SAʿID

  Jean During

  Said Hormozi did not perform in public, worked as a bank employee, and frequented musical circles such as that of Solaymān Amir Qāsemi, who preserved the purity of Persian music. He was a Sufi affiliated to the Ṣafi-ʿAlišāh brotherhood and entered a state of profound meditation when he played the setār, which made his music particularly captivating.

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• Baktiāri karnā

  music sample

• BĪDĀD

  Hormoz Farhat

  a melody (gūša) in the modal system (dastgāh) Homāyūn, one of the twelve modal systems of the contemporary tradition of Persian classical music. An important and popular gūša, Bīdād is always included in the performance of Homāyūn, even when the performance is short and selective.

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• ḴUSRAW Ī KAWĀDĀN UD RĒDAK-ĒW

  Mahnaz Moazami

  a Pahlavi treatise of wisdom-literature genre; the story of an orphan of a priestly family who presents himself to the king of kings, Ḵosrow I or Ḵosrow II.

• Divāna šo

  music sample

• CENTRAL ASIA xvi. Music

  Walter Feldman

  In modern times Central Asia as a musicological unit can be defined as the area extending from Afghanistan north of the Hindu Kush, all of Tajikistan and Uzbekistan, Turkmenistan in the west, Kirgizia and Chinese Turkestan in the east, and Kazakhstan in the north.

• Žimnāstik muzikāl

  music sample

• Tajnis

  music sample

• HAFT ḴOSRAVĀNI

  Ameneh Youssefzadeh

  the seven musical systems or modes attributed to Bārbad, the famous court musician of the Sasanian king Ḵosrow II Parvēz (r. 590-628).

• MAḤJUBI, Morteżā

  Morteżā Ḥoseyni Dehkordi and EIr

  (1900-1965), composer and pianist,  noted for his use of the piano to perform traditional Iranian music.

• Chahārgāh

  music sample

• BAYĀT-E EṢFAHĀN

  M. Caton

  or ĀVĀZ-e EṢFAHĀN, a musical system based on a specific collection of modal pieces (gūšahā) which are performed in a particular order.

• Song of carpet-weaving

  music sample

• Nowruze-ḵuni

  music sample

• Alimardan Khān

  music sample

• ŠAHNĀZI, ʿAli Akbar

  Morteżā Ḥoseyni Dehkordi

  (1897-1984), master musician, renowned teacher, and composer of Persian classical music.

• ʿEMĀD-AL-KOTTĀB, MOḤAMMAD-ḤOSAYN SAYFĪ QAZVĪNĪ

  ʿAbd-Allāh Forādi

  (b. Qazvīn, 16 April 1866; d. Tehran, 17 July 1936), calligrapher.

• Amiri-e kutāh o boland o Ṭālebā

  music sample

• ḴĀLEQI, RUḤ-ALLĀH

  Hormoz Farhat

  (1906-1965),  Persian music educator, composer, and music scholar. Through his teaching, admiration for the polyphonic richness of Western music was transmitted to some of his pupils.

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• BAYĀT-E TORK

  M. Caton

  a musical system (āvāz, naḡma) and one of the branches of the modal system (dastgāh) of Šūr in traditional classical music.

• FĀRĀBĪ v. Music

  George Sawa

  In the history of Middle Eastern music Fārābī remains unequalled as a theorist, but this aspect of his manifold achievements has been obscured by his more widely known writings on philosophy.

• PIŠ-PARDA

  William O. Beeman

  a short comedy sketch, musical number, or dance performed before the main theatrical performance, or in an intermission between acts of a performance.

• MAJD, Loṭf-Allāh

  Morteżā Ḥoseyni Dehkordi and EIr

  tār player known for his brilliant virtuosity and distinctive style (1917-1978).

• ŻARRĀBI, MOLUK

  Erik Naḵjavāni

  the stage name of Moluk Faršforuš Kāšāni (b. Kāšān, ca 1289 Š./1910; d. Tehran, 1378 Š./1999), Persian singer and actress. Moluk was born into a musically inclined family.

• KHAYYAM, OMAR

  Multiple Authors

  (ʿOMAR ḴAYYĀM, 1048-1131), celebrated polymath and poet, author of the Rubaiyat (Robāʿiāt).

• HARP

  Bo Lawergren

  (čang), a string instrument which flourished in Persia in many forms from its introduction, about 3000 BCE, until the 17th century.

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• MAḤJUBI, Reżā

  Morteżā Ḥoseyni Dehkordi and EIr

  (1898-1954) composer and violinist, brother of Morteżā.

• ḴĀLEDI, Mehdi

  E. Naḵjavāni

  Persian violinist and songwriter (1919-1990). As a violinist, Ḵāledi was known for his command of traditional Persian music and its innovative interpretation. As a composer, he was admired for the range of his rhythmically varied and elegiac songs.

• BĀLĀBĀN

  Ch. Albright

  a cylindrical-bore, double-reed wind instrument about 35 cm long with seven finger holes and one thumb hole, played in eastern Azerbaijan in Iran and in the Republic of Azerbaijan.

• ʿERĀQ

  Jean During

  musical mode mentioned for the first time in the 11th century by Kaykāvūs among some ten modes.

• FARHANG-E WAFĀʾI

  Solomon Bayevsky

  or Resāla-ye Wafāʾi; a Persian lexicon of some 2,425 mainly literary terms, compiled by Ḥosayn Wafāʾi in 1527 and dedicated to the Safavid Shah Ṭahmāsb I.

• FĀL-ASĪRĪ, Ḥājj Sayyed ʿALĪ-AKBAR

  Manṣūr Rastgār FASāʾī

  prominent mojtahed of Shiraz (1840-1901). He led the prayer at Wakīl Mosque, where he regularly preached, and for years he wielded great influence in the religious, political, and social affairs of the city. He was an active opponent of the tobacco concession and instigated a riot against it.

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• ḤĀL

  Jean During

  (lit. condition, state), an essential notion in Persian arts, especially music, which is supposed to bring about a meditative state.

• INDIA

  Multiple Authors

  This series of entries covers Indian history and its relations with Iran.

• ʿĀŠEQ

  C. F. Albright

  in Azerbaijan, Iran, and the Republic of Azerbaijan, a poet and minstrel who accompanies his singing on a long-necked, fretted, plucked chordophone known as a sāz.

• KHAYYAM, OMAR xiii. Musical Works Based On The Rubaiyat

  William H. Martin and Sandra Mason

  The enduring popularity of the verses in the Rubaiyat of Omar Khayyam is reflected in the large number of musical works they have inspired.

• MINBĀŠIĀN, Ḡolām-Ḥosayn

  Morteżā Ḥoseyni Dehkordi and EIr

  violinist, pianist, and conductor (1907-1978).

• VAZIRI, ʿAli-Naqi

  Hormoz Farhat

  (b. Tehran, 1887; d., Tehran, 9 September 1979), composer, virtuoso tār player, musical theorist, and educator.

• DAŠTĪ (musical mode)

  Jean During

  one of the twelve modal systems in the repertoire of traditional music (radīf); it is an āvāz, or auxiliary modal system, derived from or attached to the dastgāh Šūr.

• BANĀN, ḠOLĀM-ḤOSAYN

  M. Caton

  (1911-1986), one of the foremost Persian singers of the 20th century, known for the quality of his voice and vast knowledge of āvāz repertory.  

• RUḤAFZĀ, SOLAYMĀN

  Houman Sarshar

  (1900-1995), master of Persian classical music. He belongs to the first generation of Persian classical musicians who learned musical notation and the second generation to record his music.

• ḴĀZENI, ABU’L-FATḤ

  Faiza Bancel

  astronomer, mathematician, and mechanist originally from the city of Marv in Khorasan.

• HĀRUN AL-MONAJJEM

  David Pingree

  (d. 987), astronomer, astrologer, and Hadith expert.

• DELKAŠ

  Erik Nakjavani

  stage name of ʿEṣmat Bāqerpur Panbaforuš (b. Bābol, Māzandarān, 1924; d. Tehran, 2004) popular Persian singer and actress of the mid-20th century.

• BALUCHISTAN iv. Music of Baluchistan

  M. T. Massoudieh

  usually connected with particular ceremonies (marāsem), religious rites, festivals, or holidays. The relationships between melodies and particular ceremonies are reflected in their names.

• KĀNUN-E PARVAREŠ-E FEKRI-E KUDAKĀN VA NOWJAVĀNĀN vii. Visual Arts Training Center

  Fereydoun Moezi Moghadam

  The Visual Arts Training Center became a real entity long after each artistic training program was created and was in operation.

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• SAMĀʿI, ḤABIB

  MORTEZA DEHKORDI and EIr.

  (1905-46), renowned santur player.

• AḠĀNĪ, KETĀB AL-

  K. Abu-Deeb

  (“The Book of Songs”), the major work of Abu’l-Faraǰ Eṣfahānī (284-356/897-967).

• VAZIRITABĀR, Ḥosayn-ʿAli

  Morteżā Ḥoseyni Dehkordi

  (1906-1958) musician and prominent performer of the qaranei (clarinet). 

• AVICENNA ix. Music

  O. Wright

  from the discussion in his Ketāb al-najāt, Dāneš-nāma-ye ʿalāʾī, and Ketāb al-Šefāʾ. He considers music one of the mathematical sciences (the medieval quadrivium).

• As~ CAPTIONS OF ILLUSTRATIONS

  Cross-Reference

  list of all the figure and plate images in the As–Az entries

• GOLHĀ, BARNĀMA-YE

  Daryush Pirnia with Erik Nakjavani

  lit. “Flowers Program”; a series of radio programs on music and poetry, on the air for almost twenty-three years (March 1956 to February 1979), which aimed at illustrating the perennial thematic and aesthetic relationships between poetry and traditional music in Persian culture.

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• DARVĪŠ KHAN, ḠOLĀM-ḤOSAYN

  Margaret Caton

  (b. Tehran, 1872, d. Tehran, 23 November 1926), master musician, renowned teacher, and innovative composer of Persian classical music.

• BOZORG

  Jean During

  one of the modes in traditional Iranian and Arabic music, mentioned for the first time by Ṣafī-al-Dīn ʿOrmavī among the twelve šodūd, later on called maqāmāt.

• DAWĀMĪ, ʿABD-ALLĀH

  DĀRYŪŠ ṢAFVAT

  (b. Ṭā near Tafreš, 1891; d. Tehran, 10 January 1981), a master of classical Persian vocal music with a perfect command of the radīf (repertoire), as well as a gifted player of the Persian drum (tonbak) and a virtuoso of rhythmic (żarbī) pieces and songs (taṣnīf).

• ṢABĀ, ABU’l-ḤASAN

  Hormoz Farhat

  Born into an aristocratic and affluent family, Abu’l-Ḥasan had the good fortune of being raised in an environment fostering love of music and arts. He descended from a long line of court physicians, known for their artistic talents.

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• ČAHĀRMEŻRĀB

  Jean During

  a genre of traditional rhythmic instrumental music.

• ABŪ AḤMAD MONAJJEM

  A. E. Khairallah

  (241/855-56 to 13 Rabīʿ I 300/29 October 912), literary historian, music theorist, poet, and Muʿtazilite, boon companion to caliphs Mowaffaq, Moʿtażed, and Moktafī.

• ḤĀTAMI, ʿALI

  Jamsheed Akrami

  (b. Tehran, 1944; d. Tehran, 1996), Iranian scriptwriter and film director. For all his interest in dealing with the characters and incidents shaping the political and social history of the Qajar and Pahlavi periods, Ḥātami’s films are not particularly concerned with faithful representation and historical accuracy.

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• EBN ḴORDĀḎBEH, ABU’L-QĀSEM ʿOBAYD-ALLĀH

  C. Edmund Bosworth

  b. ʿAbd-Allāh (fl. 9th century), author of the earliest surviving Arabic book of administrative geography.

• HĀYEDA

  Erik Nakjavani

  (b. Tehran, 1942; d. San Jose, Calif., 1990), popular Persian singer. Hāyeda primarily distinguished herself by a naturally rich, operatic alto voice. For nearly two decades, she performed the āvāz and interpreted popular traditional and contemporary songs, all based on the modal system of traditional Persian music.

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• BĀDĀVARD

  Dj. Khaleghi-Motlagh

  (windfall), the name of one of the seven treasures of Ḵosrow Parvēz in the Šāh-nāma.

• ḤAIM, SOLAYMĀN

  Amnon Netzer

  twentieth-century lexicographer, became known as one of the first serious lexicographers to prepare Persian-language dictionaries into and from English, French and Hebrew (1886-1970).

• MUSIC HISTORY i. Pre-Islamic Iran

  Bo Lawergren

  The documentation is largely archeological with a sprinkling of textual sources, and some evidence is here assembled to outline Iran’s pre-Islamic music history.

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• MOḤSENI, Akbar

  Morteżā Ḥoseyni Dehkordi

  (1912-1995) composer and prominent performer of the Ud (lute).

• IRAN xi. MUSIC

  Bruno Nettl

• EDUCATION ii. IN THE PARTHIAN AND SASANIAN PERIODS

  Aḥmad Tafażżolī

  No concrete evidence on education in Parthian times has survived. It may be postulated, however, that it was similar to education in the Sasanian period.