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.