Beautiful. Great ...
I added this site to our Site www.sorood.com
Sepaas,
Tashakoular
Houshang Pakpour
--- emohandesi <emohandesi@...> wrote:
> http://tar4tar.8k.com/photo6.html
>
>
>
>
>
__________________________________
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Daer Nima,
salaam, I am happy that our topic was interesting for you. yes women
were allways involved in music. in fact whithin Islamic era we may
not see any or enough evidence of female musicians and their
participation in performing arts, but in Qajar dynasty we are
certain of their perfoming. if you look at the size of many old made
Tars, you can see that they are very small and feminine size while
late Qajar and Pahlavi Tars are biger and men zise! this is of
course just a thought but it is factual.
fame in female society in Iran was not very important as it was
against the social behaiver and values. only non decent women were
famous! and this was maybe the main indecency of the Motrebi genre
as they did not have any shame to be known or perform in public.
many of the good female musicians are unkown or less known. for
instance sister of Ali Akbar Shahnazi, daughter of Mirza Hosein-
Gholi a decent Tar player is one of them, and also we know that
after death of Mirza Abdullah, Ahmad Ebadi, his son continued
learning Setar under his older sister. In fact none of these ladies
had ever performed in public.
About Nakisa I must say she is more a legend rather than a
historical fact. she appears in Nezami's Khosrow va Shirin along
with other legendary musician Barbad. they were musicians from
northen territories of Great Persia, Central Asia, the place that
we know today as, Armenia (I am sure that Dr. Shaffafi knows about
this issue much better than me and we would be gretful if there was
any comment).
any how thank you for your time and interest. I hope this was of
little help.
regards,
TINOUSH BAHRAMI
287 LONGFORD HOUSE
UXBRIDGE ROAD
HAMPTON
TW12 1AR
U.K
+44 20 828 80822
+44 7949 123844
www.tinoushbahrami.com
--- In Radif@..., Nima Nafisi <nima.nafisi@k...> wrote:
> Hello,
>
> This is a really interesting subject. Could you develop more on
this.
> Have women always been involved in music? Do we have or had we any
> famous female Tar player?
> What about today. Who was "Nakissa"? If I am not wrong, she is
known to
> be the first female musician.
>
> Cheers,
> Nima.
>
>
> TINOUSH BAHRAMI wrote:
>
> > Daer friends
> >
> > hope evrybody are fine. our new concept in the group is
> > "Women and Music" as this concept is very important in Iranian
music
> > history. maybe to day is hard to believe that in Qajar period
Music
> > meant to be a feminine profession! but it is true. Pictures never
> > lie. by studying some of the historical pictures in the "photos"
> > section you can see by yourselves that this ststement is noting
but
> > historical fact.
> >
> > in addition I have uploaded a short article about "Women in Music
> > and Society" in 19th century in Teharn. this article is a
section of
> > my desertation on "Music of Old Tehran".
> >
> > I would like to dedicate this contribution to the memory of
Ghamar-
> > al-Molok Vaziri the modest Iranian Artist and the female icon of
> > Radif singing.
> >
> > hope you enjoy it and please let me know what you think about my
> > notes. I repeat that this is your group and we all must take
part of
> > group activities. so stay in touch and keep sending mails and
> > attachments to the group.
> >
> > next ensemble session would be 11th of June in Newmalden at
6:45pm.
> > in this session we have more guests. another Setar player and
maybe
> > two more Tombak players! well, god is great!!
> >
> > keep loving,
> > lots of love
> >
> > TINOUSH BAHRAMI
> > 287 LONGFORD HOUSE
> > UXBRIDGE ROAD
> > HAMPTON
> > TW12 1AR
> > U.K
> > +44 20 828 80822
> > +44 7949 123844
> > www.tinoushbahrami.com
> >
> >
> >
> >
> >
> >
> >
> >
> >
> > -----------------------------------------------------------------
-------
> > *Yahoo! Groups Links*
> >
> > * To visit your group on the web, go to:
> > http://uk.groups.yahoo.com/group/Radif/
> >
> > * To unsubscribe from this group, send an email to:
> > Radif-unsubscribe@...
> > <mailto:Radif-unsubscribe@...?
subject=Unsubscribe>
> >
> > * Your use of Yahoo! Groups is subject to the Yahoo! Terms of
> > Service <http://uk.docs.yahoo.com/info/terms.html>.
> >
> >
Hello,
This is a really interesting subject. Could you develop more on this.
Have women always been involved in music? Do we have or had we any
famous female Tar player?
What about today. Who was "Nakissa"? If I am not wrong, she is known to
be the first female musician.
Cheers,
Nima.
TINOUSH BAHRAMI wrote:
> Daer friends
>
> hope evrybody are fine. our new concept in the group is
> "Women and Music" as this concept is very important in Iranian music
> history. maybe to day is hard to believe that in Qajar period Music
> meant to be a feminine profession! but it is true. Pictures never
> lie. by studying some of the historical pictures in the "photos"
> section you can see by yourselves that this ststement is noting but
> historical fact.
>
> in addition I have uploaded a short article about "Women in Music
> and Society" in 19th century in Teharn. this article is a section of
> my desertation on "Music of Old Tehran".
>
> I would like to dedicate this contribution to the memory of Ghamar-
> al-Molok Vaziri the modest Iranian Artist and the female icon of
> Radif singing.
>
> hope you enjoy it and please let me know what you think about my
> notes. I repeat that this is your group and we all must take part of
> group activities. so stay in touch and keep sending mails and
> attachments to the group.
>
> next ensemble session would be 11th of June in Newmalden at 6:45pm.
> in this session we have more guests. another Setar player and maybe
> two more Tombak players! well, god is great!!
>
> keep loving,
> lots of love
>
> TINOUSH BAHRAMI
> 287 LONGFORD HOUSE
> UXBRIDGE ROAD
> HAMPTON
> TW12 1AR
> U.K
> +44 20 828 80822
> +44 7949 123844
> www.tinoushbahrami.com
>
>
>
>
>
>
>
>
>
> ------------------------------------------------------------------------
> *Yahoo! Groups Links*
>
> * To visit your group on the web, go to:
> http://uk.groups.yahoo.com/group/Radif/
>
> * To unsubscribe from this group, send an email to:
> Radif-unsubscribe@...
> <mailto:Radif-unsubscribe@...?subject=Unsubscribe>
>
> * Your use of Yahoo! Groups is subject to the Yahoo! Terms of
> Service <http://uk.docs.yahoo.com/info/terms.html>.
>
>
Daer friends
hope evrybody are fine. our new concept in the group is
"Women and Music" as this concept is very important in Iranian music
history. maybe to day is hard to believe that in Qajar period Music
meant to be a feminine profession! but it is true. Pictures never
lie. by studying some of the historical pictures in the "photos"
section you can see by yourselves that this ststement is noting but
historical fact.
in addition I have uploaded a short article about "Women in Music
and Society" in 19th century in Teharn. this article is a section of
my desertation on "Music of Old Tehran".
I would like to dedicate this contribution to the memory of Ghamar-
al-Molok Vaziri the modest Iranian Artist and the female icon of
Radif singing.
hope you enjoy it and please let me know what you think about my
notes. I repeat that this is your group and we all must take part of
group activities. so stay in touch and keep sending mails and
attachments to the group.
next ensemble session would be 11th of June in Newmalden at 6:45pm.
in this session we have more guests. another Setar player and maybe
two more Tombak players! well, god is great!!
keep loving,
lots of love
TINOUSH BAHRAMI
287 LONGFORD HOUSE
UXBRIDGE ROAD
HAMPTON
TW12 1AR
U.K
+44 20 828 80822
+44 7949 123844
www.tinoushbahrami.com
Ba salaam beh doostane mehraban,
Agar beh Moosighi va She're Parsi alaagheh daarid, sari beh
www.sam.malakut.org bezanid.
Dar in weblog beh barresi-ye tatbighi-ye revaayat-haaye goonaagoon
az goosheh-haaye Radif (dar haale haazer aavaaze Bayate Tork)
mipardazim.
Ba arezooye movaffaghiyat baraaye shoma va aghaye Bahrami-ye aziz
keh ba tamaame moshkelati keh dar dyaare ghorbat hast Cheraghe
Farhang va Moosighi-ye Iran ra roshan negah daashteh ast.
Amir Hossein Sam
Oxford, 2nd June 2005
Dear all,
At last we had our first session. It was fantastic and I may thank
you all for your help and support. The next session would be held in
the same place on the 11th of June at 6:45.
Please let me know who is coming. you can even send an empty mail to
confirm your attendence. I,ll pot the rehearsal dates for the rest
of the year into the groups calender which enable you to remembering
the rehearsals.
I am also thinking about a gathering and nice trip to the Horniman
Museum to visit the largest instrument collection in the U.K,
http://www.horniman.ac.uk/collections/musical.php
this is following our "musical instruments" concept in the group.
the museum is in East London. here is the location:
http://www.horniman.ac.uk/visiting/getting.php
please let me know your dates of preference. We can meet there and
have lunch together.
I would like to thank you again and wish you the best.
looking forward to see you,
TINOUSH BAHRAMI
287 LONGFORD HOUSE
UXBRIDGE ROAD
HAMPTON
TW12 1AR
U.K
+44 20 828 80822
+44 7949 123844
www.tinoushbahrami.com
Hi Nima,
You make a very interesting point. The "Monophony" of the traditional
Persian classical music performance may seem simplistic when compared with
the "Polyphony" of music with harmony such as Western Classical music.
However, this is only to the uninitiated.
Ragas, Dastgahs and Maqams are all "monophonic", as you say. Their
complexity lies in their development through time, not in the number of
notes that are sounding at once. You can think of polyphonic music as
Vertical in nature, and monophonic music as Horizontal. In the raga system,
the formal structure lasts an hour or more, comparable to a symphony. Some
dastgah performances are just as long. This spreads out the experience over
time, and requires the listener's full involvement for the duration. The
same may be claimed of the great symphonies of the 19th century by Mahler
and Bruckner, or Wagner's operas which can last for days!
The emphasis in Eastern music is generally on the significance of each note
in a melody, rather than the significance of a chord or a harmonic
progression. The Eastern aesthetic is for the development of an atmosphere
through time and the manipulation of time. In Eastern music, it is
recognized that our human perception of time is relative. "Time flies when
you're having fun" explains why you may listen to music and have your
perceptions of time altered. Eastern music actively shrinks and expands your
perception time while you listen to it. Western classical musicians only
caught onto this idea consciously in the 20th century, and took it from
Eastern music.
Now, back to the piano. Of course, if you play a Persian melody on the
piano, it will sound terrible. The main reason is that the piano is not
tuned properly. This tuning of "Equal temperament" is an artificial
innovation to allow music to be played from any key. Bach would not have
been familiar with this tuning until his later years. Baroque music and
earlier used to use "just temperament" or other temperaments which were
closer to the Harmonic Series which exists everywhere in nature. "Equal
temperament" is certainly different from traditional Iranian tuning, and
distorts all of the intervals in the music until they are incomprehensible.
This is why Iranian pianists, such as Morteza Mahjoubi always tune their
piano to the correct intervals before attempting to play Iranian music.
Even so, you may say that the melodic constructions which go into Iranian
music are simple. I accept that some are based on very basic scalar patterns
or ascending and descending sequences. However, you will also find that the
very best in Iranian music also plays with the listener's expectations. You
find when you try to actually play one of these "simple" melodies that there
are odd quirks which make it very interesting, and much harder to play. A
sequence is set up so that you are expecting to hear the same thing repeated
at a lower pitch each time, but there is one note changed, or a strange
variation on the last repetition. Complex sequences can be built from simple
building blocks as well. These little gems are what gives the traditional
Dastgah system its dignity and its place among high art forms.
Keep in mind also that the most primitive musical instrument is the human
voice. It doesn't matter whether it is opera or Mongolian throat singing,
the human voice is something that almost all of us have as a gift from God.
This is really the genesis of all music, and the only instrument that is
universally accessible. It also happens to be a "monophonic" instrument
(unless you count the Mongolians! :-) Does this make Schubert's lieder any
less valuable? Is melodic music from Western Classical traditions more
"simple"? I don't think so. You will find Eastern music retains a strong
link from instrumental music back to the human voice of music's origins.
I would not detract from Chopin or Rachmaninov. They were highly skilled
musicians. However, it is very Eurocentric to judge everything based on what
it sounds like on the piano. These composers wrote music for the piano and
exploited all of its capabilities. You will find that Persian masters such
as Kayhan Kalhor and M. Reza Shajarian exploit all the capabilities of their
instruments. Virtuosity is not confined to Western Classical music either.
It comes down to an aesthetic and subjective choice again. If one doesn't
like Persian classical music and prefers Western Classical, then that is
one's prerogative. That is a personal preference, and does nothing to really
prove the superiority or complexity of a certain kind of music. I hope that
hearing another point of view gives you a more balanced perspective.
As always, in peace and brotherly love!
Abdul Malik Said
----- Original Message -----
From: "Nima Nafisi" <nima.nafisi@...>
To: <Radif@...>
Sent: Saturday, May 28, 2005 7:55 PM
Subject: Re: [Radif] Composer reinvents the piano
> Thanks for this detailed answer. We are on the same wavelength.
>
> But let me be the advocate of the devil.
> The fact that Iranian music is monophonic, does it bring any limitation?
> From your email, I understand that the possibilities of creation are
> endless, as you said the Iranian music has been evolving and changing
> for a long time, and this is still going on.
> And an impression that I have and also from some persons (mainly
> pianists), is that if you take an Iranian piece written for piano, it
> sounds more "simple", "less rich" than a piece from Chopin or
> Rachmaninov for example. Is this due the instrument, which is not part
> of the set of traditional instruments.
>
> This is to understand what are the differences between Iranian music and
> classical music.
> Cheers,
> Nima.
>
>
>
> Abdul Malik Said wrote:
>
> > Nima,
> >
> > Allow me to enlighten your brother on this topic, as he is clearly
> > misinformed :-)
> >
> > You quoted your brother as saying that "Iranian music is only a
> > traditional
> > music", which is not correct. There is plenty of contemporary Iranian
> > music,
> > and I am sure Tinoush jaan can point you to MANY examples. With a brief
> > search, I found very recent events in Iran featuring music that
continues
> > the rich heritage of Persian classical music. For instance, see
> > http://www.tehranavenue.com/article.php?id=381
> >
> > People in Iran are not just sitting complacently and playing exactly the
> > same music as they did 100 years ago. Even when they do play ancient
> > music,
> > they continually re-interpret the music within a contemporary context.
> > Some
> > musicians continue the traditional genres, such as radif, and others
> > extend
> > the traditions with new interpretations of the dastgah-ha and magham.
This
> > is not including any pop music, jazz, or Western-fusion types of
> > music. I am
> > only speaking of Iranian music. You should let your brother know that
the
> > dastgah system, itself, has continually evolved over thousands of
> > years, and
> > is still evolving!
> >
> > Now, regarding the superiority of Western Classical music over other
kinds
> > of music - this is a very antiquated notion, which is Aesthetically and
> > logically untenable. Europeans used to think this in the 19th century,
and
> > some very few people even still hold onto the idea today. The paradigm
was
> > that Europeans had evolved the highest of all Art forms, and that they
> > were
> > the superior race in the world. It used to look that way, when they had
> > colonized most of the world and invented the technology that fuelled the
> > Industrial Revolution. However, you will see most modern-day
> > orchestras and
> > classical musicians have readily adapted music from Iran, China,
> > Indonesia... etc. For instance, Claude Debussy was inspired by the
> > Indonesian gamelan of the 1896 world fair in Paris. So, for the last 100
> > years at least, world music has influenced European classical music.
Also,
> > much of the music of Medieval Europe owes its origins to Arabic and
> > Eastern
> > music, which was theorized and adapted through contact with the dominant
> > Islamic and earlier Byzantine cultures.
> >
> > Gradually, people these days have abandoned the notion that some kinds
of
> > music are "inferior" while others are "superior". Modern musicologists
> > have
> > benefited from the philosophical teachings in the field of Aesthetics,
> > which
> > allows us to speak of concepts such as "beauty" rather than
"superiority".
> > If it is beautiful to you, then it is valuable and good -- not
"inferior".
> >
> > The piano has become a symbol of European musical ingenuity. The
> > keyboard is
> > everywhere, and has become the mainstream way to compose and arrange
> > classical music. The piano was perfected during the Industrial
Revolution,
> > when a strong steel frame could be built to take a huge amount of
pressure
> > from the tight strings. This made for a louder instrument, and the range
> > also expanded during the late 18th/early 19th century. HOWEVER, the 21st
> > century has firmly established the computer as the successor to the
> > piano in
> > this role. It is now possible to compose and arrange music without any
> > keyboard skills or the use of a piano, and even experimenting with full
> > orchestration (which is not possible on the piano!). Of course, many
> > people
> > still use the guitar, piano or Tar to compose, and that is their
> > preference,
> > but the dominance of the piano is gradually giving way to a
technological
> > era where it is possible to input notes of any pitch into a computer
using
> > voice, violin, hand motions, choreography, or whatever you want.
> >
> > There are good and bad aspects to this, but people who still hold onto
> > ideas
> > such as your brother's should at least recognize that the term
"classical"
> > is a very problematic one. What he really means is "Neo-Classical
Western
> > European Art Music". This is inspired indirectly from the music of
Ancient
> > Greece, through the renaissance of Europe, and developed into the
> > tradition
> > that is carried on today. Within the genre we vaguely call "classical
> > music", there is Baroque music, Romantic Music, Rococo Music,
Dodecaphonic
> > music... so many sub-classifications from more than 500 years of
> > tradition.
> > Persian art music has an equally diverse tradition, and many different
> > historic and contemporary genres exist within what we call "Persian
> > Classical Music". Indian classical music also has complexity and
> > mathematical theory behind it. My point is that European music does
> > not have
> > a monopoly on "Classical Music", "Art Music" or "Complex Music". In
> > fact, if
> > you listen to some of the symphonies of Haydn, they seem downright
> > childish
> > compared to the depth of some of the Ragas and Dastgahs!
> >
> > Hopefully, most musicians will abandon the Eurocentric view that music
can
> > be objectively judged, and the pinnacle of artistic achievement was
> > European. My Father used to believe this, and in his view the
> > symphonies of
> > Bruckner and Mahler represented the ultimate expression of humanity.
Many
> > worship Beethoven as the height of compositional genius, while others
> > proclaim Bach to be the greatest of all time. For these people who get
> > stuck
> > in the past, music will never really be dynamic and alive any more. We
> > should acknowledge the validity of all viewpoints, while still being
> > able to
> > judge for ourselves what is "good" and "beautiful" music. Even my Father
> > came to appreciate some contemporary music in his later years, such as
> > Estonian composer Arvo Part.
> >
> > My own personal view is that the music we think of as "classical" has
> > really
> > fallen on hard times. It used to be that European classical musicians
were
> > readily able to improvise, and the instruments were tuned to natural
> > intervals which were more in line with the Harmonic Series that is
> > inherent
> > in all sound. The equal temperament of the piano and the
through-composed
> > nature of today's classical performances leaves us with a dry, distant
> > feeling. There are many contemporary composers who continue to keep
music
> > alive as well as performers who are able to improvise, but they have
been
> > largely displaced by a mass-market approach to music. This has led to
> > North
> > American orchestras facing bankruptcy, and the European orchestras
having
> > union action and strikes. Musicians are now workers in an industry
> > which has
> > its ups and downs. There is a big threat to classical music of all kinds
> > now, with the advent of technology that allows people to readily throw
> > together music from samples and other sources, with very little talent
or
> > skill required, and also due to the decline in perceived value of the
Live
> > Performance.
> >
> > So please tell your brother to evolve and grow with the times, otherwise
> > classical music will die out, and we will only have Brittany Spears
left!
> >
> > :-)
> >
> > Best regards to you and your brother. I don't mean to argue, only to
> > debate.
> >
> > Salam,
> > Abdul Malik
> >
> > ----- Original Message -----
> > From: "Nima Nafisi" <nima.nafisi@...>
> > To: <Radif@...>
> > Sent: Saturday, May 28, 2005 1:03 AM
> > Subject: Re: [Radif] Composer reinvents the piano
> >
> >
> > > Hello guys,
> > >
> > > Interesting article.
> > >
> > > I was asking myself a question for quite a while now, about the
> > > relationship
> > > between European classical music and Iranian music.
> > > I have had an argue with my brother, who is a pianist (
> > > http://www.pianontroppo.com/ ), and who was telling me that
Iranian
> > > music is only a traditional music, suggesting that there is no
> > > evolution
> > > possible in Iranian music, and thus "inferior" to classical music.
> > > Classical european music would be somehow above the other "kinds"
of
> > > music.
> > >
> > > I don't know much about music, maybe this question is non sense.
If
> > you
> > > have any idea on this, and time to answer I would be happy to know
> > what
> > > you think about this.
> > >
> > > All the best,
> > > Nima.
> > >
> > >
> > >
> > >
> > > TINOUSH BAHRAMI wrote:
> > >
> > > > Daer all,
> > > > here is a very interesting news about a new invention which allows
> > > > Pianists to play microtones (I wish Morteza Mahjoobi was alive!).
> > > > please have a look:
> > > >
> > > >
> > > > http://www.guardian.co.uk/arts/news/story/0,11711,886739,00.html
> > > >
> > > > Best regards.
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > ------------------------------------------------------------------------
> > > > *Yahoo! Groups Links*
> > > >
> > > > * To visit your group on the web, go to:
> > > > http://uk.groups.yahoo.com/group/Radif/
> > > >
> > > > * To unsubscribe from this group, send an email to:
> > > > Radif-unsubscribe@...
> > > >
<mailto:Radif-unsubscribe@...?subject=Unsubscribe>
> > > >
> > > > * Your use of Yahoo! Groups is subject to the Yahoo! Terms of
> > > > Service <http://uk.docs.yahoo.com/info/terms.html>.
> > > >
> > > >
> > >
> > >
> > >
> > >
> >
> >
> >
> > ------------------------------------------------------------------------
> > *Yahoo! Groups Links*
> >
> > * To visit your group on the web, go to:
> > http://uk.groups.yahoo.com/group/Radif/
> >
> > * To unsubscribe from this group, send an email to:
> > Radif-unsubscribe@...
> > <mailto:Radif-unsubscribe@...?subject=Unsubscribe>
> >
> > * Your use of Yahoo! Groups is subject to the Yahoo! Terms of
> > Service <http://uk.docs.yahoo.com/info/terms.html>.
> >
> >
>
>
>
>
Thanks for this detailed answer. We are on the same wavelength.
But let me be the advocate of the devil.
The fact that Iranian music is monophonic, does it bring any limitation?
From your email, I understand that the possibilities of creation are
endless, as you said the Iranian music has been evolving and changing
for a long time, and this is still going on.
And an impression that I have and also from some persons (mainly
pianists), is that if you take an Iranian piece written for piano, it
sounds more "simple", "less rich" than a piece from Chopin or
Rachmaninov for example. Is this due the instrument, which is not part
of the set of traditional instruments.
This is to understand what are the differences between Iranian music and
classical music.
Cheers,
Nima.
Abdul Malik Said wrote:
> Nima,
>
> Allow me to enlighten your brother on this topic, as he is clearly
> misinformed :-)
>
> You quoted your brother as saying that "Iranian music is only a
> traditional
> music", which is not correct. There is plenty of contemporary Iranian
> music,
> and I am sure Tinoush jaan can point you to MANY examples. With a brief
> search, I found very recent events in Iran featuring music that continues
> the rich heritage of Persian classical music. For instance, see
> http://www.tehranavenue.com/article.php?id=381
>
> People in Iran are not just sitting complacently and playing exactly the
> same music as they did 100 years ago. Even when they do play ancient
> music,
> they continually re-interpret the music within a contemporary context.
> Some
> musicians continue the traditional genres, such as radif, and others
> extend
> the traditions with new interpretations of the dastgah-ha and magham. This
> is not including any pop music, jazz, or Western-fusion types of
> music. I am
> only speaking of Iranian music. You should let your brother know that the
> dastgah system, itself, has continually evolved over thousands of
> years, and
> is still evolving!
>
> Now, regarding the superiority of Western Classical music over other kinds
> of music - this is a very antiquated notion, which is Aesthetically and
> logically untenable. Europeans used to think this in the 19th century, and
> some very few people even still hold onto the idea today. The paradigm was
> that Europeans had evolved the highest of all Art forms, and that they
> were
> the superior race in the world. It used to look that way, when they had
> colonized most of the world and invented the technology that fuelled the
> Industrial Revolution. However, you will see most modern-day
> orchestras and
> classical musicians have readily adapted music from Iran, China,
> Indonesia... etc. For instance, Claude Debussy was inspired by the
> Indonesian gamelan of the 1896 world fair in Paris. So, for the last 100
> years at least, world music has influenced European classical music. Also,
> much of the music of Medieval Europe owes its origins to Arabic and
> Eastern
> music, which was theorized and adapted through contact with the dominant
> Islamic and earlier Byzantine cultures.
>
> Gradually, people these days have abandoned the notion that some kinds of
> music are "inferior" while others are "superior". Modern musicologists
> have
> benefited from the philosophical teachings in the field of Aesthetics,
> which
> allows us to speak of concepts such as "beauty" rather than "superiority".
> If it is beautiful to you, then it is valuable and good -- not "inferior".
>
> The piano has become a symbol of European musical ingenuity. The
> keyboard is
> everywhere, and has become the mainstream way to compose and arrange
> classical music. The piano was perfected during the Industrial Revolution,
> when a strong steel frame could be built to take a huge amount of pressure
> from the tight strings. This made for a louder instrument, and the range
> also expanded during the late 18th/early 19th century. HOWEVER, the 21st
> century has firmly established the computer as the successor to the
> piano in
> this role. It is now possible to compose and arrange music without any
> keyboard skills or the use of a piano, and even experimenting with full
> orchestration (which is not possible on the piano!). Of course, many
> people
> still use the guitar, piano or Tar to compose, and that is their
> preference,
> but the dominance of the piano is gradually giving way to a technological
> era where it is possible to input notes of any pitch into a computer using
> voice, violin, hand motions, choreography, or whatever you want.
>
> There are good and bad aspects to this, but people who still hold onto
> ideas
> such as your brother's should at least recognize that the term "classical"
> is a very problematic one. What he really means is "Neo-Classical Western
> European Art Music". This is inspired indirectly from the music of Ancient
> Greece, through the renaissance of Europe, and developed into the
> tradition
> that is carried on today. Within the genre we vaguely call "classical
> music", there is Baroque music, Romantic Music, Rococo Music, Dodecaphonic
> music... so many sub-classifications from more than 500 years of
> tradition.
> Persian art music has an equally diverse tradition, and many different
> historic and contemporary genres exist within what we call "Persian
> Classical Music". Indian classical music also has complexity and
> mathematical theory behind it. My point is that European music does
> not have
> a monopoly on "Classical Music", "Art Music" or "Complex Music". In
> fact, if
> you listen to some of the symphonies of Haydn, they seem downright
> childish
> compared to the depth of some of the Ragas and Dastgahs!
>
> Hopefully, most musicians will abandon the Eurocentric view that music can
> be objectively judged, and the pinnacle of artistic achievement was
> European. My Father used to believe this, and in his view the
> symphonies of
> Bruckner and Mahler represented the ultimate expression of humanity. Many
> worship Beethoven as the height of compositional genius, while others
> proclaim Bach to be the greatest of all time. For these people who get
> stuck
> in the past, music will never really be dynamic and alive any more. We
> should acknowledge the validity of all viewpoints, while still being
> able to
> judge for ourselves what is "good" and "beautiful" music. Even my Father
> came to appreciate some contemporary music in his later years, such as
> Estonian composer Arvo Part.
>
> My own personal view is that the music we think of as "classical" has
> really
> fallen on hard times. It used to be that European classical musicians were
> readily able to improvise, and the instruments were tuned to natural
> intervals which were more in line with the Harmonic Series that is
> inherent
> in all sound. The equal temperament of the piano and the through-composed
> nature of today's classical performances leaves us with a dry, distant
> feeling. There are many contemporary composers who continue to keep music
> alive as well as performers who are able to improvise, but they have been
> largely displaced by a mass-market approach to music. This has led to
> North
> American orchestras facing bankruptcy, and the European orchestras having
> union action and strikes. Musicians are now workers in an industry
> which has
> its ups and downs. There is a big threat to classical music of all kinds
> now, with the advent of technology that allows people to readily throw
> together music from samples and other sources, with very little talent or
> skill required, and also due to the decline in perceived value of the Live
> Performance.
>
> So please tell your brother to evolve and grow with the times, otherwise
> classical music will die out, and we will only have Brittany Spears left!
>
> :-)
>
> Best regards to you and your brother. I don't mean to argue, only to
> debate.
>
> Salam,
> Abdul Malik
>
> ----- Original Message -----
> From: "Nima Nafisi" <nima.nafisi@...>
> To: <Radif@...>
> Sent: Saturday, May 28, 2005 1:03 AM
> Subject: Re: [Radif] Composer reinvents the piano
>
>
> > Hello guys,
> >
> > Interesting article.
> >
> > I was asking myself a question for quite a while now, about the
> > relationship
> > between European classical music and Iranian music.
> > I have had an argue with my brother, who is a pianist (
> > http://www.pianontroppo.com/ ), and who was telling me that Iranian
> > music is only a traditional music, suggesting that there is no
> > evolution
> > possible in Iranian music, and thus "inferior" to classical music.
> > Classical european music would be somehow above the other "kinds" of
> > music.
> >
> > I don't know much about music, maybe this question is non sense. If
> you
> > have any idea on this, and time to answer I would be happy to know
> what
> > you think about this.
> >
> > All the best,
> > Nima.
> >
> >
> >
> >
> > TINOUSH BAHRAMI wrote:
> >
> > > Daer all,
> > > here is a very interesting news about a new invention which allows
> > > Pianists to play microtones (I wish Morteza Mahjoobi was alive!).
> > > please have a look:
> > >
> > >
> > > http://www.guardian.co.uk/arts/news/story/0,11711,886739,00.html
> > >
> > > Best regards.
> > >
> > >
> > >
> > >
> > >
> > >
> ------------------------------------------------------------------------
> > > *Yahoo! Groups Links*
> > >
> > > * To visit your group on the web, go to:
> > > http://uk.groups.yahoo.com/group/Radif/
> > >
> > > * To unsubscribe from this group, send an email to:
> > > Radif-unsubscribe@...
> > > <mailto:Radif-unsubscribe@...?subject=Unsubscribe>
> > >
> > > * Your use of Yahoo! Groups is subject to the Yahoo! Terms of
> > > Service <http://uk.docs.yahoo.com/info/terms.html>.
> > >
> > >
> >
> >
> >
> >
>
>
>
> ------------------------------------------------------------------------
> *Yahoo! Groups Links*
>
> * To visit your group on the web, go to:
> http://uk.groups.yahoo.com/group/Radif/
>
> * To unsubscribe from this group, send an email to:
> Radif-unsubscribe@...
> <mailto:Radif-unsubscribe@...?subject=Unsubscribe>
>
> * Your use of Yahoo! Groups is subject to the Yahoo! Terms of
> Service <http://uk.docs.yahoo.com/info/terms.html>.
>
>
Nima,
Allow me to enlighten your brother on this topic, as he is clearly
misinformed :-)
You quoted your brother as saying that "Iranian music is only a traditional
music", which is not correct. There is plenty of contemporary Iranian music,
and I am sure Tinoush jaan can point you to MANY examples. With a brief
search, I found very recent events in Iran featuring music that continues
the rich heritage of Persian classical music. For instance, see
http://www.tehranavenue.com/article.php?id=381
People in Iran are not just sitting complacently and playing exactly the
same music as they did 100 years ago. Even when they do play ancient music,
they continually re-interpret the music within a contemporary context. Some
musicians continue the traditional genres, such as radif, and others extend
the traditions with new interpretations of the dastgah-ha and magham. This
is not including any pop music, jazz, or Western-fusion types of music. I am
only speaking of Iranian music. You should let your brother know that the
dastgah system, itself, has continually evolved over thousands of years, and
is still evolving!
Now, regarding the superiority of Western Classical music over other kinds
of music - this is a very antiquated notion, which is Aesthetically and
logically untenable. Europeans used to think this in the 19th century, and
some very few people even still hold onto the idea today. The paradigm was
that Europeans had evolved the highest of all Art forms, and that they were
the superior race in the world. It used to look that way, when they had
colonized most of the world and invented the technology that fuelled the
Industrial Revolution. However, you will see most modern-day orchestras and
classical musicians have readily adapted music from Iran, China,
Indonesia... etc. For instance, Claude Debussy was inspired by the
Indonesian gamelan of the 1896 world fair in Paris. So, for the last 100
years at least, world music has influenced European classical music. Also,
much of the music of Medieval Europe owes its origins to Arabic and Eastern
music, which was theorized and adapted through contact with the dominant
Islamic and earlier Byzantine cultures.
Gradually, people these days have abandoned the notion that some kinds of
music are "inferior" while others are "superior". Modern musicologists have
benefited from the philosophical teachings in the field of Aesthetics, which
allows us to speak of concepts such as "beauty" rather than "superiority".
If it is beautiful to you, then it is valuable and good -- not "inferior".
The piano has become a symbol of European musical ingenuity. The keyboard is
everywhere, and has become the mainstream way to compose and arrange
classical music. The piano was perfected during the Industrial Revolution,
when a strong steel frame could be built to take a huge amount of pressure
from the tight strings. This made for a louder instrument, and the range
also expanded during the late 18th/early 19th century. HOWEVER, the 21st
century has firmly established the computer as the successor to the piano in
this role. It is now possible to compose and arrange music without any
keyboard skills or the use of a piano, and even experimenting with full
orchestration (which is not possible on the piano!). Of course, many people
still use the guitar, piano or Tar to compose, and that is their preference,
but the dominance of the piano is gradually giving way to a technological
era where it is possible to input notes of any pitch into a computer using
voice, violin, hand motions, choreography, or whatever you want.
There are good and bad aspects to this, but people who still hold onto ideas
such as your brother's should at least recognize that the term "classical"
is a very problematic one. What he really means is "Neo-Classical Western
European Art Music". This is inspired indirectly from the music of Ancient
Greece, through the renaissance of Europe, and developed into the tradition
that is carried on today. Within the genre we vaguely call "classical
music", there is Baroque music, Romantic Music, Rococo Music, Dodecaphonic
music... so many sub-classifications from more than 500 years of tradition.
Persian art music has an equally diverse tradition, and many different
historic and contemporary genres exist within what we call "Persian
Classical Music". Indian classical music also has complexity and
mathematical theory behind it. My point is that European music does not have
a monopoly on "Classical Music", "Art Music" or "Complex Music". In fact, if
you listen to some of the symphonies of Haydn, they seem downright childish
compared to the depth of some of the Ragas and Dastgahs!
Hopefully, most musicians will abandon the Eurocentric view that music can
be objectively judged, and the pinnacle of artistic achievement was
European. My Father used to believe this, and in his view the symphonies of
Bruckner and Mahler represented the ultimate expression of humanity. Many
worship Beethoven as the height of compositional genius, while others
proclaim Bach to be the greatest of all time. For these people who get stuck
in the past, music will never really be dynamic and alive any more. We
should acknowledge the validity of all viewpoints, while still being able to
judge for ourselves what is "good" and "beautiful" music. Even my Father
came to appreciate some contemporary music in his later years, such as
Estonian composer Arvo Part.
My own personal view is that the music we think of as "classical" has really
fallen on hard times. It used to be that European classical musicians were
readily able to improvise, and the instruments were tuned to natural
intervals which were more in line with the Harmonic Series that is inherent
in all sound. The equal temperament of the piano and the through-composed
nature of today's classical performances leaves us with a dry, distant
feeling. There are many contemporary composers who continue to keep music
alive as well as performers who are able to improvise, but they have been
largely displaced by a mass-market approach to music. This has led to North
American orchestras facing bankruptcy, and the European orchestras having
union action and strikes. Musicians are now workers in an industry which has
its ups and downs. There is a big threat to classical music of all kinds
now, with the advent of technology that allows people to readily throw
together music from samples and other sources, with very little talent or
skill required, and also due to the decline in perceived value of the Live
Performance.
So please tell your brother to evolve and grow with the times, otherwise
classical music will die out, and we will only have Brittany Spears left!
:-)
Best regards to you and your brother. I don't mean to argue, only to debate.
Salam,
Abdul Malik
----- Original Message -----
From: "Nima Nafisi" <nima.nafisi@...>
To: <Radif@...>
Sent: Saturday, May 28, 2005 1:03 AM
Subject: Re: [Radif] Composer reinvents the piano
> Hello guys,
>
> Interesting article.
>
> I was asking myself a question for quite a while now, about the
> relationship
> between European classical music and Iranian music.
> I have had an argue with my brother, who is a pianist (
> http://www.pianontroppo.com/ ), and who was telling me that Iranian
> music is only a traditional music, suggesting that there is no
> evolution
> possible in Iranian music, and thus "inferior" to classical music.
> Classical european music would be somehow above the other "kinds" of
> music.
>
> I don't know much about music, maybe this question is non sense. If
you
> have any idea on this, and time to answer I would be happy to know
what
> you think about this.
>
> All the best,
> Nima.
>
>
>
>
> TINOUSH BAHRAMI wrote:
>
> > Daer all,
> > here is a very interesting news about a new invention which allows
> > Pianists to play microtones (I wish Morteza Mahjoobi was alive!).
> > please have a look:
> >
> >
> > http://www.guardian.co.uk/arts/news/story/0,11711,886739,00.html
> >
> > Best regards.
> >
> >
> >
> >
> >
> > ------------------------------------------------------------------------
> > *Yahoo! Groups Links*
> >
> > * To visit your group on the web, go to:
> > http://uk.groups.yahoo.com/group/Radif/
> >
> > * To unsubscribe from this group, send an email to:
> > Radif-unsubscribe@...
> > <mailto:Radif-unsubscribe@...?subject=Unsubscribe>
> >
> > * Your use of Yahoo! Groups is subject to the Yahoo! Terms of
> > Service <http://uk.docs.yahoo.com/info/terms.html>.
> >
> >
>
>
>
>
Hello guys,
Interesting article.
I was asking myself a question for quite a while now, about the
relationship
between European classical music and Iranian music.
I have had an argue with my brother, who is a pianist (
http://www.pianontroppo.com/ ), and who was telling me that Iranian
music is only a traditional music, suggesting that there is no
evolution
possible in Iranian music, and thus "inferior" to classical music.
Classical european music would be somehow above the other "kinds" of
music.
I don't know much about music, maybe this question is non sense. If you
have any idea on this, and time to answer I would be happy to know what
you think about this.
All the best,
Nima.
TINOUSH BAHRAMI wrote:
> Daer all,
> here is a very interesting news about a new invention which allows
> Pianists to play microtones (I wish Morteza Mahjoobi was alive!).
> please have a look:
>
>
> http://www.guardian.co.uk/arts/news/story/0,11711,886739,00.html
>
> Best regards.
>
>
>
>
>
> ------------------------------------------------------------------------
> *Yahoo! Groups Links*
>
> * To visit your group on the web, go to:
> http://uk.groups.yahoo.com/group/Radif/
>
> * To unsubscribe from this group, send an email to:
> Radif-unsubscribe@...
> <mailto:Radif-unsubscribe@...?subject=Unsubscribe>
>
> * Your use of Yahoo! Groups is subject to the Yahoo! Terms of
> Service <http://uk.docs.yahoo.com/info/terms.html>.
>
>
Hello every body,
at last we are having a session. I don't realy know how many of you
are coming because I hardly recieving any mails from you ):
any how, last week I was chasing the instrumen fixing project and
have visited many places in London to find some strings. at the end
with my own budjet (which is not any good) I managed to buy some
srtings and with some help we "made up" an instrument! I meant to
make a Bass Taar but I ended up with somthing very interesting which
sounds just beautiful. so still we can have another Tar to be
converted to a Bass Tar, any donations?
We also have converted our Afghan Robab to a way that a Tar player
can play. we added an extra string to it and also some Iranian
intervals! it's great. we may can get another Tar later to make a
Bass Tar. I also turened a Setar to somthing Mr. Lotfi call it Setar-
Abrisham (silk-Setar) but the strins were too thick and I am waiting
for some other strings to be arrive tommorow and hopfuly we can have
that as well. Hope you all could come and hope you could get a bit
of practice before the session.
I see you all tommorow.
best wishes.
TINOUSH BAHRAMI
287 LONGFORD HOUSE
UXBRIDGE ROAD
HAMPTON
TW12 1AR
U.K
+44 20 828 80822
+44 7949 123844
www.tinoushbahrami.com
have you signed in before trying to access files? because all members are able to upload, modify and download files and photos. please try again.
regards.
Abdul Malik Said <abdulmaliksaid@...> wrote:
I tried, but I could not download any files from the site.
It says: "You are not authorized to view this page".
Is anyone else able to download the files or is it just me?
Salams to everyone Abdul Malik
----- Original Message ----- From: "emohandesi" To: Sent: Tuesday, May 24, 2005 10:59 PM Subject: [Radif] Re: Ensemble II Practice files
> Dear Friends, > > Please go to the Ensemble folder in File section of the group: > > http://uk.groups.yahoo.com/group/Radif/files/%2A%2A%2A%20%20% > 20Ensemble%20%2A%2A%2A/ > > Two files have been uploaded. Mr Bahrami has played and explained the > notation of this piece. > > Mahour Mirza (Hosseingoli).mp3 > > Mahour Mirza (Hosseingoli) with Notation.mp3 >
> We will be practicing this piece on 28th May 2005. > > Enjoy listening and happy practicing. > > Best reards > Radif Group > > > > >
Yahoo! Groups Links
<*> To visit your group on the web, go to: http://uk.groups.yahoo.com/group/Radif/
<*> To unsubscribe from this group, send an email to: Radif-unsubscribe@...
<*> Your use of Yahoo! Groups is subject to: http://uk.docs.yahoo.com/info/terms.html
I tried, but I could not download any files from the site.
It says:
"You are not authorized to view this page".
Is anyone else able to download the files or is it just me?
Salams to everyone
Abdul Malik
----- Original Message -----
From: "emohandesi" <emohandesi@...>
To: <Radif@...>
Sent: Tuesday, May 24, 2005 10:59 PM
Subject: [Radif] Re: Ensemble II Practice files
> Dear Friends,
>
> Please go to the Ensemble folder in File section of the group:
>
> http://uk.groups.yahoo.com/group/Radif/files/%2A%2A%2A%20%20%
> 20Ensemble%20%2A%2A%2A/
>
> Two files have been uploaded. Mr Bahrami has played and explained the
> notation of this piece.
>
> Mahour Mirza (Hosseingoli).mp3
>
> Mahour Mirza (Hosseingoli) with Notation.mp3
>
> We will be practicing this piece on 28th May 2005.
>
> Enjoy listening and happy practicing.
>
> Best reards
> Radif Group
>
>
>
>
>
Dear Friends,
Please go to the Ensemble folder in File section of the group:
http://uk.groups.yahoo.com/group/Radif/files/%2A%2A%2A%20%20%
20Ensemble%20%2A%2A%2A/
Two files have been uploaded. Mr Bahrami has played and explained the
notation of this piece.
Mahour Mirza (Hosseingoli).mp3
Mahour Mirza (Hosseingoli) with Notation.mp3
We will be practicing this piece on 28th May 2005.
Enjoy listening and happy practicing.
Best reards
Radif Group
--- In Radif@..., "arash" <arashfayyazi@y...> wrote:
> i think the option to upload photos from every one has been
disabled,
> otherwise could you let me know how to upload them please? thanks
Dear mr.Fayyazi,
Thank you for your mail. I have changed the setting to allow members
to upload files and photos. to do this go to photo section and in to
the appropriate album, then click "add photo" then browse, find your
file and upload it to the album.
many thanks for your interest. I hope we all together help to
activate this group and also our artistic life in abroad.
Khoda negahdar.
Dear all
Hope every thing goes well with your music. This week's concept is
instruments. Many pictures have been uploaded in the "photo" secton
by me, have a look and if you got any interesting pictures, please
share those with us. There are some articles in "link" and
also "files" section about instrument makers and general information
about instruments, both in Persian and English, please help
youeself.
Hope you like and follow this week's concept and wish to hear from
you in the group and see your messages.
with the best wishes.
Tinoush Bahrami, London.
Dear friends,
We are having a session at Saturday May 28th at 6:45. we need to go
there a bti later because of the shop closing takes some time, so we
cannot start at 6.oo.
Please be there the latest at 6:30. I'll be there at 6:15, so we can
meet up and meybe tuning and stuff.this is the address:
105 high street New Malden
surrey
kt3 4bp
by train come down from the station to the main high st opposit the
woolworth store "cafe puccions".
by car turn in to sussex place you can park any where . on the
corner of sussex place is a Mcdonald.
To see the map go to the "files" section.
I will try to upload the music tommorow. hope is not too late. some
of you may know it "Mahour-e Mirza". Any ways please forgive me in
this occasion as I was buisy with my workshop down in Surry for a
week. the piece is so easy and you can learn it in a flash. neat
time we use tape wich is easier. I am sure you all have your tape
recorders.
O.K looking forward to see you all.
best regards.
Dear all,
responding to Mr.Parvizian's enquiery, I am thinking of organising
our first session of ensemble on May 28th. please can who are you
let me know whether is it suitable for you or not? the session would
be held in Newmalden, at 6 o'clock. the rehearsal would last about
2hrs and we leave the place right at 8 o'clock.
U.K residants who are not attending to music lessons can come along
to the session for "watch & learn". if oyu can play an Iranian
instrument, still you are welcome. bring you saz with you and join
us.
I will upload a file containing the music for the first session and
you can all practice the piece before you attend to the ensemble.
I would be very greatful if you send me a mail to confirm your
attendance.
Please let me know if the date is not good. we can change it.
we also need to name our ensemble. please let everybody know your
ideas. suggest a name for the ensemble. when we have your
suggestions, then we can creat a poll and chose the name by costing
votes. how is this? so please send some names (attention to all
members)and lets do it together.
Best regards.
The following Radif poll is now closed. Here are the
final results:
POLL QUESTION: I think everybody allready know about
what happend to people who were trying
to set a memorial ceremony for "Yahya
the Tar maker". if not this link tells
you all (persian article)
http://www.artmusic.ir/news/show.asp?
Id=4404
I am holding a historical document
which is a letter from Yahya, printed
in Nahid newspaper 1305/1926. This is
a unique document which I think is
time for it to be publicized. In this
letter Yahya giving a sad immage of
his life.
The question is how do you think is
the best way to do this?
Please cost your votes as soon as
possible. Please send an email if you
thik of better options.
thank you for your coopration.
CHOICES AND RESULTS
- Upload the document to the group's file, and advert the news in some music
websites, so people can join the group and see the document., 0 votes, 0.00%
- write a letter and attach the picture of document and send it to news
agancies. Then they know who is the donator., 1 votes, 50.00%
- Send a copy of document to the people who are organising the memorial., 0
votes, 0.00%
- keep the document and use it in an article later., 1 votes, 50.00%
- Send a copy of the document to a magazine and let them do what they think is
best., 0 votes, 0.00%
INDIVIDUAL VOTES
- Upload the document to the group's file, and advert the news in some music
websites, so people can join the group and see the document.
- write a letter and attach the picture of document and send it to news
agancies. Then they know who is the donator.
- nasseretminan@...
- Send a copy of document to the people who are organising the memorial.
- keep the document and use it in an article later.
- arashfayyazi@...
- Send a copy of the document to a magazine and let them do what they think is
best.
For more information about this group, please visit
http://uk.groups.yahoo.com/group/Radif
For help with Yahoo! Groups, please visit
http://help.yahoo.com/help/uk/groups/
I hope that we can have the first practice session by the end of May.
Monday (30 MAY)is a Bank Holiday, so I hope that every one can make
it. Iam asking Mr Bahrami to confirm a time and date for all of us
who like to attend the first session.If it is still bar gharar. The
future is Bright. I don't wanna talk about funding right now.
However, First Iranian Cultural Festival in Bath City will give us a
very good funding to perform for Next Year.so there is no need to
hesitate.so, Bring it on....
Thanks
Dear all,
Hope everything goes well,
I have sent a message to every body asking to your vote for the
Yahya's document recently. well only 3 members voted till now. many
thanks to them. please spare a few moment and have a look at "Polls"
section in the group's website and cost your vote. I think the main
point of being part of a group is to participating in the groups
activities and have your say. so why you waiting for?
best regards.
Hello everyone,
here are some photos of all sort of musical ensembles in Iran,
following the earlier article about history of "ham-navazi":
http://uk.photos.groups.yahoo.com/group/radif/lst?.dir=/Ensamble+in+I
ran&.src=gr&.order=&.view=t&.done=http%3a//briefcase.yahoo.com/
enjoy and if you got any,add.
keep loving music.
Dear friends,
I am so glad to see you in this group. Thank you very much for the
respons.
There are good news from every where which makes me keep going and
being so hopefull. I think by the end of May we are able to start
our ensemble.
Good news is that one of the good members Mr. Ali Saffar has offerd
his coffe shop (which is big enough to acomodate more than 30
people) as the rehearsal room for the ensemble. Mant thanks to Mr.
Saffar.
The place is in New molden which is close to Kinston. British rail
from waterloo goes straight to New molden by Sheperton train. By
underground you can go by district line to wimbeldon and from there
2 stops to new molden.
We have the most interesting instruments in our ensemble. apart of
Tar and Setar we got 2 Ud polayers! and another good member Mr. Amir
Aghanejad has dedicated his beautiful Robab to be used in the
enseble. Many thanks to Mr. Aghanejad. Now we need to find out who
can take care of playing the Robab? (it must be one of the Tar
players!). Another dedication to the group is a Tar from Mr. Ehsan
Parvizian, to be converted to a Bass-Tar. Many thanks to Mr.
Parvizian.
Mr. Kiannejad has confirmed his attendence which means we can have
Ney in the ensemble. he also shocked me with the good news that Mr.
Moradi might join us to play Kamanceh! Another effort has been made
by Mr. Abdul-malik Saied our Canadian friend and member of the group
a Violin player who is very good in Iranian music, by investing to
buy a Gheychak and offering the practice and playing this instrument
in the group!
Wow! I know it is far too good to be true.
Any ways this is to be an ametur ensemble and we are practicing
either new instruments or some may be new in they own instruments.
Some never played in an ensemble. but this the beauty of it and the
sprit of this group: learning, practicing, loving.
I would like to take this opportunity to welcome and thank all of
you and wish a very good and useful experience being in this group
for every body.
Khoda hafez.
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