• Music of Iran, Karaj - Bedâh e navazi santûr (Impromptu on the santur)

    ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Sadjadifard, Agha-ye - santur Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to come. Today, one fifth of the w...

    published: 27 Jul 2014
  • Flower Kind Farhad Zadehnour Iran Music Irani ايرانی Karaj Iranian Music Fafar

    published: 19 Apr 2010
  • Chann Ve (Full Song) - Karaj Randhawa Feat. Music Brigade | Latest Punjabi Song 2016 | 7HawkRecords

    7hawk Records presents new Punjabi romantic song "Chan Ve" which is penned and sung by very talented singer Karaj Randhawa and soulful music given by MusicBrigade || Song :- Chann Ve Singer/Lyricist - Karaj Randhawa [http://www.facebook.com/KarajRandhawaMusic] Music by MusicBrigade [http://www.facebook.com/MusicBrigadeOfficial] Video Director :- Nitish Verma https://www.facebook.com/Nitish-Verma-620535041377846/ Editor : Varun Arora DOP : Rahul Arora Asst director :Kavita Sareen Special thnx : Navi salaria,OP Verma,Munish Verma Produced by Nishan Singh & Jatinder Rukanpuri Label - 7hawk Records [https://www.facebook.com/7hawkrecords] Contact:- 7078900022 ,9501861930 Hungama - http://www.hungama.com/#/music/album-chann-ve-songs/17322083 Available on iTunes - https://itunes.apple....

    published: 06 Feb 2016
  • Music of Iran, Karaj - Gat-e Kurdî

    ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Djamshidi, Agha-ye - kamanche Sadjadifard, Agha-ye - santur Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to c...

    published: 27 Jul 2014
  • Music of Iran, Karaj - Avâz Shooshtari

    ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Djamshidi, Agha-ye - kamanche Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to come. Today, one fifth of the w...

    published: 27 Jul 2014
  • Music of Iran, Karaj - Bedâh-e navazi tombak (Improvisation on the tombak)

    ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to come. Today, one fifth of the world's population, one billion...

    published: 27 Jul 2014
  • Music of Iran, Karaj - Tasnîf-e mahalli Kurdî

    ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Djamshidi, Agha-ye - kamanche Sadjadifard, Agha-ye - santur Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to c...

    published: 27 Jul 2014
  • Music of Iran, Karaj - Reng

    ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Djamshidi, Agha-ye - kamanche Sadjadifard, Agha-ye - santur Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to c...

    published: 27 Jul 2014
  • Music of Iran, Karaj - Tasnîf-e Esfahân (Song to the Esfahan Tune)

    ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Djamshidi, Agha-ye - kamanche Sadjadifard, Agha-ye - santur Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to c...

    published: 27 Jul 2014
  • Music of Iran, Karaj - Farhang-e a'vâm

    ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Djamshidi, Agha-ye - kamanche Sadjadifard, Agha-ye - santur Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to c...

    published: 27 Jul 2014
Music of Iran, Karaj - Bedâh e navazi santûr (Impromptu on the santur)

Music of Iran, Karaj - Bedâh e navazi santûr (Impromptu on the santur)

  • Order:
  • Duration: 12:44
  • Updated: 27 Jul 2014
  • views: 848
videos
●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Sadjadifard, Agha-ye - santur Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to come. Today, one fifth of the world's population, one billion people, are Muslims, occupying a large territory stretching from the Atlantic shore of north and west Africa, through west, central, and south Asia to island southeast Asia, and attracting an increasing following in India, western Europe, north America, east Asia, and southern Africa. This is a global presence which cannot be ignored. Many orthodox Muslims have traditionally held that music is generally detrimental to the listener's religious life, and as a result there is relatively little sacred music in Islam. But there is some. Central to Islamic life is the chanting of the holy scripture, the Qur'an. Two associated works, the call to prayer known as ezan (adhon) and the tekbir, are known throughout the Islamic world, and are also performed in a highly stylized, richly embroidered style of chant. These prayers are the subject of this volume. A further prayer, the mevlud (mawlid) and regional prayers for the month of Ramadan are reserved for special occasions. All of these sacred works are sung/recited (the distinction becomes almost a semantic one in these performances in Arabic, of course); but difference in pronunciation and inflection have led to distinctly regional styles of performance. The five reciters recorded in this volume are all based in Istanbul, Turkey, where the tradition of Qur'anic chant is particularly strong. The music culture of Yemen is a domain which has, until this recording and accompanying annotation, been scarcely known or documented. Yet, it has deep historic roots. The music of Yemen is extremely rich in genres, repertoires and configurations, functional relationships, modalities of performance and instruments. Yemenite music in general, and regardless of all the differences between layers of tradition and local and regional styles, has a particular attraction and charm, virtues which have been praised since ancient times. The instrumental compositions in this recording belong to Persian art music as passed down to the present. The marked preference of the Persians for instrumental music contributed to the dedication of greater attention by the Arabs, orientated more towards vocal music, to the development of instruments and instrumental performance. Gusheh-ha—designating small dimensioned tonal melodic tone groups—form the foundations of the great complex creations of the classical music of Iran. A gusheh (singular) is comprised of a dastgah—a kind of five–part suite. The connection with classical music is first established by the integration of all recordings in two very popular dastgah-ha (plural), Shur and Homayoun, also found in most regional music traditions. The instrumental compositions combining the kemenche and santur offer an excellent rendering of the feeling for sound or of the sound ideal of classical Persian music culture. They are accompanied in the rhythmical formation by the zarb or duff. This present video is fan-made with no commercial purpose. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬●
https://wn.com/Music_Of_Iran,_Karaj_Bedâh_E_Navazi_Santûr_(Impromptu_On_The_Santur)
Flower Kind Farhad Zadehnour Iran Music Irani ايرانی Karaj Iranian Music Fafar

Flower Kind Farhad Zadehnour Iran Music Irani ايرانی Karaj Iranian Music Fafar

  • Order:
  • Duration: 4:29
  • Updated: 19 Apr 2010
  • views: 2683
videos
https://wn.com/Flower_Kind_Farhad_Zadehnour_Iran_Music_Irani_ايرانی_Karaj_Iranian_Music_Fafar
Chann Ve (Full Song) - Karaj Randhawa  Feat. Music Brigade | Latest Punjabi Song 2016 | 7HawkRecords

Chann Ve (Full Song) - Karaj Randhawa Feat. Music Brigade | Latest Punjabi Song 2016 | 7HawkRecords

  • Order:
  • Duration: 4:44
  • Updated: 06 Feb 2016
  • views: 236669
videos
7hawk Records presents new Punjabi romantic song "Chan Ve" which is penned and sung by very talented singer Karaj Randhawa and soulful music given by MusicBrigade || Song :- Chann Ve Singer/Lyricist - Karaj Randhawa [http://www.facebook.com/KarajRandhawaMusic] Music by MusicBrigade [http://www.facebook.com/MusicBrigadeOfficial] Video Director :- Nitish Verma https://www.facebook.com/Nitish-Verma-620535041377846/ Editor : Varun Arora DOP : Rahul Arora Asst director :Kavita Sareen Special thnx : Navi salaria,OP Verma,Munish Verma Produced by Nishan Singh & Jatinder Rukanpuri Label - 7hawk Records [https://www.facebook.com/7hawkrecords] Contact:- 7078900022 ,9501861930 Hungama - http://www.hungama.com/#/music/album-chann-ve-songs/17322083 Available on iTunes - https://itunes.apple.com/in/album/chann-ve-feat.-brigade-single/id1082275731 Saavn - http://www.saavn.com/p/album/punjabi/Chann-Ve-2016/eEDpd6Mwz7A_ For CallerTunes Airtel Subscriber for Hello Tune Dial 5432115274350 Vodafone Subscribers for Caller Tune Direct Dial 5377344000 Idea Subscribers Dial 567897344000 Tata DoCoMo Subscribers dial 5432117344000 BSNL (South / East) Subscribers sms BT 7344000 To 56700 BSNL (North / West) Subscribers sms BT 5848724 To 56700 Virgin Subscribers sms TT 7344000 To 58475 Uninor Subscribers sms ACT CT 7344000 to 52211
https://wn.com/Chann_Ve_(Full_Song)_Karaj_Randhawa_Feat._Music_Brigade_|_Latest_Punjabi_Song_2016_|_7Hawkrecords
Music of Iran, Karaj - Gat-e Kurdî

Music of Iran, Karaj - Gat-e Kurdî

  • Order:
  • Duration: 1:57
  • Updated: 27 Jul 2014
  • views: 416
videos
●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Djamshidi, Agha-ye - kamanche Sadjadifard, Agha-ye - santur Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to come. Today, one fifth of the world's population, one billion people, are Muslims, occupying a large territory stretching from the Atlantic shore of north and west Africa, through west, central, and south Asia to island southeast Asia, and attracting an increasing following in India, western Europe, north America, east Asia, and southern Africa. This is a global presence which cannot be ignored. Many orthodox Muslims have traditionally held that music is generally detrimental to the listener's religious life, and as a result there is relatively little sacred music in Islam. But there is some. Central to Islamic life is the chanting of the holy scripture, the Qur'an. Two associated works, the call to prayer known as ezan (adhon) and the tekbir, are known throughout the Islamic world, and are also performed in a highly stylized, richly embroidered style of chant. These prayers are the subject of this volume. A further prayer, the mevlud (mawlid) and regional prayers for the month of Ramadan are reserved for special occasions. All of these sacred works are sung/recited (the distinction becomes almost a semantic one in these performances in Arabic, of course); but difference in pronunciation and inflection have led to distinctly regional styles of performance. The five reciters recorded in this volume are all based in Istanbul, Turkey, where the tradition of Qur'anic chant is particularly strong. The music culture of Yemen is a domain which has, until this recording and accompanying annotation, been scarcely known or documented. Yet, it has deep historic roots. The music of Yemen is extremely rich in genres, repertoires and configurations, functional relationships, modalities of performance and instruments. Yemenite music in general, and regardless of all the differences between layers of tradition and local and regional styles, has a particular attraction and charm, virtues which have been praised since ancient times. The instrumental compositions in this recording belong to Persian art music as passed down to the present. The marked preference of the Persians for instrumental music contributed to the dedication of greater attention by the Arabs, orientated more towards vocal music, to the development of instruments and instrumental performance. Gusheh-ha—designating small dimensioned tonal melodic tone groups—form the foundations of the great complex creations of the classical music of Iran. A gusheh (singular) is comprised of a dastgah—a kind of five–part suite. The connection with classical music is first established by the integration of all recordings in two very popular dastgah-ha (plural), Shur and Homayoun, also found in most regional music traditions. The instrumental compositions combining the kemenche and santur offer an excellent rendering of the feeling for sound or of the sound ideal of classical Persian music culture. They are accompanied in the rhythmical formation by the zarb or duff. This present video is fan-made with no commercial purpose. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬●
https://wn.com/Music_Of_Iran,_Karaj_Gat_E_Kurdî
Music of Iran, Karaj - Avâz Shooshtari

Music of Iran, Karaj - Avâz Shooshtari

  • Order:
  • Duration: 5:16
  • Updated: 27 Jul 2014
  • views: 592
videos
●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Djamshidi, Agha-ye - kamanche Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to come. Today, one fifth of the world's population, one billion people, are Muslims, occupying a large territory stretching from the Atlantic shore of north and west Africa, through west, central, and south Asia to island southeast Asia, and attracting an increasing following in India, western Europe, north America, east Asia, and southern Africa. This is a global presence which cannot be ignored. Many orthodox Muslims have traditionally held that music is generally detrimental to the listener's religious life, and as a result there is relatively little sacred music in Islam. But there is some. Central to Islamic life is the chanting of the holy scripture, the Qur'an. Two associated works, the call to prayer known as ezan (adhon) and the tekbir, are known throughout the Islamic world, and are also performed in a highly stylized, richly embroidered style of chant. These prayers are the subject of this volume. A further prayer, the mevlud (mawlid) and regional prayers for the month of Ramadan are reserved for special occasions. All of these sacred works are sung/recited (the distinction becomes almost a semantic one in these performances in Arabic, of course); but difference in pronunciation and inflection have led to distinctly regional styles of performance. The five reciters recorded in this volume are all based in Istanbul, Turkey, where the tradition of Qur'anic chant is particularly strong. The music culture of Yemen is a domain which has, until this recording and accompanying annotation, been scarcely known or documented. Yet, it has deep historic roots. The music of Yemen is extremely rich in genres, repertoires and configurations, functional relationships, modalities of performance and instruments. Yemenite music in general, and regardless of all the differences between layers of tradition and local and regional styles, has a particular attraction and charm, virtues which have been praised since ancient times. The instrumental compositions in this recording belong to Persian art music as passed down to the present. The marked preference of the Persians for instrumental music contributed to the dedication of greater attention by the Arabs, orientated more towards vocal music, to the development of instruments and instrumental performance. Gusheh-ha—designating small dimensioned tonal melodic tone groups—form the foundations of the great complex creations of the classical music of Iran. A gusheh (singular) is comprised of a dastgah—a kind of five–part suite. The connection with classical music is first established by the integration of all recordings in two very popular dastgah-ha (plural), Shur and Homayoun, also found in most regional music traditions. The instrumental compositions combining the kemenche and santur offer an excellent rendering of the feeling for sound or of the sound ideal of classical Persian music culture. They are accompanied in the rhythmical formation by the zarb or duff. This present video is fan-made with no commercial purpose. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬●
https://wn.com/Music_Of_Iran,_Karaj_Avâz_Shooshtari
Music of Iran, Karaj - Bedâh-e navazi tombak (Improvisation on the tombak)

Music of Iran, Karaj - Bedâh-e navazi tombak (Improvisation on the tombak)

  • Order:
  • Duration: 3:16
  • Updated: 27 Jul 2014
  • views: 312
videos
●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to come. Today, one fifth of the world's population, one billion people, are Muslims, occupying a large territory stretching from the Atlantic shore of north and west Africa, through west, central, and south Asia to island southeast Asia, and attracting an increasing following in India, western Europe, north America, east Asia, and southern Africa. This is a global presence which cannot be ignored. Many orthodox Muslims have traditionally held that music is generally detrimental to the listener's religious life, and as a result there is relatively little sacred music in Islam. But there is some. Central to Islamic life is the chanting of the holy scripture, the Qur'an. Two associated works, the call to prayer known as ezan (adhon) and the tekbir, are known throughout the Islamic world, and are also performed in a highly stylized, richly embroidered style of chant. These prayers are the subject of this volume. A further prayer, the mevlud (mawlid) and regional prayers for the month of Ramadan are reserved for special occasions. All of these sacred works are sung/recited (the distinction becomes almost a semantic one in these performances in Arabic, of course); but difference in pronunciation and inflection have led to distinctly regional styles of performance. The five reciters recorded in this volume are all based in Istanbul, Turkey, where the tradition of Qur'anic chant is particularly strong. The music culture of Yemen is a domain which has, until this recording and accompanying annotation, been scarcely known or documented. Yet, it has deep historic roots. The music of Yemen is extremely rich in genres, repertoires and configurations, functional relationships, modalities of performance and instruments. Yemenite music in general, and regardless of all the differences between layers of tradition and local and regional styles, has a particular attraction and charm, virtues which have been praised since ancient times. The instrumental compositions in this recording belong to Persian art music as passed down to the present. The marked preference of the Persians for instrumental music contributed to the dedication of greater attention by the Arabs, orientated more towards vocal music, to the development of instruments and instrumental performance. Gusheh-ha—designating small dimensioned tonal melodic tone groups—form the foundations of the great complex creations of the classical music of Iran. A gusheh (singular) is comprised of a dastgah—a kind of five–part suite. The connection with classical music is first established by the integration of all recordings in two very popular dastgah-ha (plural), Shur and Homayoun, also found in most regional music traditions. The instrumental compositions combining the kemenche and santur offer an excellent rendering of the feeling for sound or of the sound ideal of classical Persian music culture. They are accompanied in the rhythmical formation by the zarb or duff. This present video is fan-made with no commercial purpose. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬●
https://wn.com/Music_Of_Iran,_Karaj_Bedâh_E_Navazi_Tombak_(Improvisation_On_The_Tombak)
Music of Iran, Karaj - Tasnîf-e mahalli Kurdî

Music of Iran, Karaj - Tasnîf-e mahalli Kurdî

  • Order:
  • Duration: 1:31
  • Updated: 27 Jul 2014
  • views: 821
videos
●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Djamshidi, Agha-ye - kamanche Sadjadifard, Agha-ye - santur Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to come. Today, one fifth of the world's population, one billion people, are Muslims, occupying a large territory stretching from the Atlantic shore of north and west Africa, through west, central, and south Asia to island southeast Asia, and attracting an increasing following in India, western Europe, north America, east Asia, and southern Africa. This is a global presence which cannot be ignored. Many orthodox Muslims have traditionally held that music is generally detrimental to the listener's religious life, and as a result there is relatively little sacred music in Islam. But there is some. Central to Islamic life is the chanting of the holy scripture, the Qur'an. Two associated works, the call to prayer known as ezan (adhon) and the tekbir, are known throughout the Islamic world, and are also performed in a highly stylized, richly embroidered style of chant. These prayers are the subject of this volume. A further prayer, the mevlud (mawlid) and regional prayers for the month of Ramadan are reserved for special occasions. All of these sacred works are sung/recited (the distinction becomes almost a semantic one in these performances in Arabic, of course); but difference in pronunciation and inflection have led to distinctly regional styles of performance. The five reciters recorded in this volume are all based in Istanbul, Turkey, where the tradition of Qur'anic chant is particularly strong. The music culture of Yemen is a domain which has, until this recording and accompanying annotation, been scarcely known or documented. Yet, it has deep historic roots. The music of Yemen is extremely rich in genres, repertoires and configurations, functional relationships, modalities of performance and instruments. Yemenite music in general, and regardless of all the differences between layers of tradition and local and regional styles, has a particular attraction and charm, virtues which have been praised since ancient times. The instrumental compositions in this recording belong to Persian art music as passed down to the present. The marked preference of the Persians for instrumental music contributed to the dedication of greater attention by the Arabs, orientated more towards vocal music, to the development of instruments and instrumental performance. Gusheh-ha—designating small dimensioned tonal melodic tone groups—form the foundations of the great complex creations of the classical music of Iran. A gusheh (singular) is comprised of a dastgah—a kind of five–part suite. The connection with classical music is first established by the integration of all recordings in two very popular dastgah-ha (plural), Shur and Homayoun, also found in most regional music traditions. The instrumental compositions combining the kemenche and santur offer an excellent rendering of the feeling for sound or of the sound ideal of classical Persian music culture. They are accompanied in the rhythmical formation by the zarb or duff. This present video is fan-made with no commercial purpose. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬●
https://wn.com/Music_Of_Iran,_Karaj_Tasnîf_E_Mahalli_Kurdî
Music of Iran, Karaj - Reng

Music of Iran, Karaj - Reng

  • Order:
  • Duration: 3:09
  • Updated: 27 Jul 2014
  • views: 326
videos
●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Djamshidi, Agha-ye - kamanche Sadjadifard, Agha-ye - santur Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to come. Today, one fifth of the world's population, one billion people, are Muslims, occupying a large territory stretching from the Atlantic shore of north and west Africa, through west, central, and south Asia to island southeast Asia, and attracting an increasing following in India, western Europe, north America, east Asia, and southern Africa. This is a global presence which cannot be ignored. Many orthodox Muslims have traditionally held that music is generally detrimental to the listener's religious life, and as a result there is relatively little sacred music in Islam. But there is some. Central to Islamic life is the chanting of the holy scripture, the Qur'an. Two associated works, the call to prayer known as ezan (adhon) and the tekbir, are known throughout the Islamic world, and are also performed in a highly stylized, richly embroidered style of chant. These prayers are the subject of this volume. A further prayer, the mevlud (mawlid) and regional prayers for the month of Ramadan are reserved for special occasions. All of these sacred works are sung/recited (the distinction becomes almost a semantic one in these performances in Arabic, of course); but difference in pronunciation and inflection have led to distinctly regional styles of performance. The five reciters recorded in this volume are all based in Istanbul, Turkey, where the tradition of Qur'anic chant is particularly strong. The music culture of Yemen is a domain which has, until this recording and accompanying annotation, been scarcely known or documented. Yet, it has deep historic roots. The music of Yemen is extremely rich in genres, repertoires and configurations, functional relationships, modalities of performance and instruments. Yemenite music in general, and regardless of all the differences between layers of tradition and local and regional styles, has a particular attraction and charm, virtues which have been praised since ancient times. The instrumental compositions in this recording belong to Persian art music as passed down to the present. The marked preference of the Persians for instrumental music contributed to the dedication of greater attention by the Arabs, orientated more towards vocal music, to the development of instruments and instrumental performance. Gusheh-ha—designating small dimensioned tonal melodic tone groups—form the foundations of the great complex creations of the classical music of Iran. A gusheh (singular) is comprised of a dastgah—a kind of five–part suite. The connection with classical music is first established by the integration of all recordings in two very popular dastgah-ha (plural), Shur and Homayoun, also found in most regional music traditions. The instrumental compositions combining the kemenche and santur offer an excellent rendering of the feeling for sound or of the sound ideal of classical Persian music culture. They are accompanied in the rhythmical formation by the zarb or duff. This present video is fan-made with no commercial purpose. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬●
https://wn.com/Music_Of_Iran,_Karaj_Reng
Music of Iran, Karaj - Tasnîf-e Esfahân (Song to the Esfahan Tune)

Music of Iran, Karaj - Tasnîf-e Esfahân (Song to the Esfahan Tune)

  • Order:
  • Duration: 5:13
  • Updated: 27 Jul 2014
  • views: 429
videos
●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Djamshidi, Agha-ye - kamanche Sadjadifard, Agha-ye - santur Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to come. Today, one fifth of the world's population, one billion people, are Muslims, occupying a large territory stretching from the Atlantic shore of north and west Africa, through west, central, and south Asia to island southeast Asia, and attracting an increasing following in India, western Europe, north America, east Asia, and southern Africa. This is a global presence which cannot be ignored. Many orthodox Muslims have traditionally held that music is generally detrimental to the listener's religious life, and as a result there is relatively little sacred music in Islam. But there is some. Central to Islamic life is the chanting of the holy scripture, the Qur'an. Two associated works, the call to prayer known as ezan (adhon) and the tekbir, are known throughout the Islamic world, and are also performed in a highly stylized, richly embroidered style of chant. These prayers are the subject of this volume. A further prayer, the mevlud (mawlid) and regional prayers for the month of Ramadan are reserved for special occasions. All of these sacred works are sung/recited (the distinction becomes almost a semantic one in these performances in Arabic, of course); but difference in pronunciation and inflection have led to distinctly regional styles of performance. The five reciters recorded in this volume are all based in Istanbul, Turkey, where the tradition of Qur'anic chant is particularly strong. The music culture of Yemen is a domain which has, until this recording and accompanying annotation, been scarcely known or documented. Yet, it has deep historic roots. The music of Yemen is extremely rich in genres, repertoires and configurations, functional relationships, modalities of performance and instruments. Yemenite music in general, and regardless of all the differences between layers of tradition and local and regional styles, has a particular attraction and charm, virtues which have been praised since ancient times. The instrumental compositions in this recording belong to Persian art music as passed down to the present. The marked preference of the Persians for instrumental music contributed to the dedication of greater attention by the Arabs, orientated more towards vocal music, to the development of instruments and instrumental performance. Gusheh-ha—designating small dimensioned tonal melodic tone groups—form the foundations of the great complex creations of the classical music of Iran. A gusheh (singular) is comprised of a dastgah—a kind of five–part suite. The connection with classical music is first established by the integration of all recordings in two very popular dastgah-ha (plural), Shur and Homayoun, also found in most regional music traditions. The instrumental compositions combining the kemenche and santur offer an excellent rendering of the feeling for sound or of the sound ideal of classical Persian music culture. They are accompanied in the rhythmical formation by the zarb or duff. This present video is fan-made with no commercial purpose. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬●
https://wn.com/Music_Of_Iran,_Karaj_Tasnîf_E_Esfahân_(Song_To_The_Esfahan_Tune)
Music of Iran, Karaj - Farhang-e a'vâm

Music of Iran, Karaj - Farhang-e a'vâm

  • Order:
  • Duration: 2:40
  • Updated: 27 Jul 2014
  • views: 239
videos
●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬● Artists: Djamshidi, Agha-ye - kamanche Sadjadifard, Agha-ye - santur Sahihi, Agha-ye - tombak Album:The Music of Islam, Vol. 12: Music of Iran, Karaj. Year: 1998 Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1/622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV/21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to come. Today, one fifth of the world's population, one billion people, are Muslims, occupying a large territory stretching from the Atlantic shore of north and west Africa, through west, central, and south Asia to island southeast Asia, and attracting an increasing following in India, western Europe, north America, east Asia, and southern Africa. This is a global presence which cannot be ignored. Many orthodox Muslims have traditionally held that music is generally detrimental to the listener's religious life, and as a result there is relatively little sacred music in Islam. But there is some. Central to Islamic life is the chanting of the holy scripture, the Qur'an. Two associated works, the call to prayer known as ezan (adhon) and the tekbir, are known throughout the Islamic world, and are also performed in a highly stylized, richly embroidered style of chant. These prayers are the subject of this volume. A further prayer, the mevlud (mawlid) and regional prayers for the month of Ramadan are reserved for special occasions. All of these sacred works are sung/recited (the distinction becomes almost a semantic one in these performances in Arabic, of course); but difference in pronunciation and inflection have led to distinctly regional styles of performance. The five reciters recorded in this volume are all based in Istanbul, Turkey, where the tradition of Qur'anic chant is particularly strong. The music culture of Yemen is a domain which has, until this recording and accompanying annotation, been scarcely known or documented. Yet, it has deep historic roots. The music of Yemen is extremely rich in genres, repertoires and configurations, functional relationships, modalities of performance and instruments. Yemenite music in general, and regardless of all the differences between layers of tradition and local and regional styles, has a particular attraction and charm, virtues which have been praised since ancient times. The instrumental compositions in this recording belong to Persian art music as passed down to the present. The marked preference of the Persians for instrumental music contributed to the dedication of greater attention by the Arabs, orientated more towards vocal music, to the development of instruments and instrumental performance. Gusheh-ha—designating small dimensioned tonal melodic tone groups—form the foundations of the great complex creations of the classical music of Iran. A gusheh (singular) is comprised of a dastgah—a kind of five–part suite. The connection with classical music is first established by the integration of all recordings in two very popular dastgah-ha (plural), Shur and Homayoun, also found in most regional music traditions. The instrumental compositions combining the kemenche and santur offer an excellent rendering of the feeling for sound or of the sound ideal of classical Persian music culture. They are accompanied in the rhythmical formation by the zarb or duff. This present video is fan-made with no commercial purpose. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use ●▬▬▬▬▬▬▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬▬▬▬▬▬▬●
https://wn.com/Music_Of_Iran,_Karaj_Farhang_E_A'Vâm