• 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
  • PGI | Karaj Randhawa | Latest Punjabi Song 2016| Angel Records ||

    Published on Dec 10, 2016 single by Karaj Randhawa. Song - P.G.I Singer - Karaj Randhawa Music - Music Brigade Lyrics - Guri Batale Wala Video - Nitish Verma Label - Angel Records Special Thanks - Kamal Boparai - FB -https://www.facebook.com/kamal.boparai.1217 Label - Angel Records ______________________________________________________________ Enjoy and stay connected with us!! Facebook - https://www.facebook.com/theAngelRecords/ Instagram - https://www.instagram.com/angelrecordsonline/ Category Music License Standard YouTube License

    published: 10 Dec 2016
  • Flower Kind Farhad Zadehnour Iran Music Irani ايرانی Karaj Iranian Music Fafar

    published: 19 Apr 2010
  • Farhad Zadehnour Flower Kind Iran Music Irani ايرانی Karaj Iranian Music Fafar

    published: 19 Apr 2010
  • Eritrean music by sulaeimn £ Karaj Dateit الفنان سليمان احمد خارج تعديت 2017

    published: 11 Mar 2017
  • ANAND KARAJ (SIKH WEDDING) IN ROYAL STYLE

    BRIDE AND GROOM IN ROYAL DRESSING MAKE YOU FEEL HAPPY ABOUT OUR RICH CULTURE

    published: 18 Oct 2016
  • 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 - 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 - 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 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 - 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)
PGI | Karaj Randhawa | Latest Punjabi Song 2016| Angel Records ||

PGI | Karaj Randhawa | Latest Punjabi Song 2016| Angel Records ||

  • Order:
  • Duration: 3:30
  • Updated: 10 Dec 2016
  • views: 348028
videos
Published on Dec 10, 2016 single by Karaj Randhawa. Song - P.G.I Singer - Karaj Randhawa Music - Music Brigade Lyrics - Guri Batale Wala Video - Nitish Verma Label - Angel Records Special Thanks - Kamal Boparai - FB -https://www.facebook.com/kamal.boparai.1217 Label - Angel Records ______________________________________________________________ Enjoy and stay connected with us!! Facebook - https://www.facebook.com/theAngelRecords/ Instagram - https://www.instagram.com/angelrecordsonline/ Category Music License Standard YouTube License
https://wn.com/Pgi_|_Karaj_Randhawa_|_Latest_Punjabi_Song_2016|_Angel_Records_||
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: 2713
videos
https://wn.com/Flower_Kind_Farhad_Zadehnour_Iran_Music_Irani_ايرانی_Karaj_Iranian_Music_Fafar
Farhad Zadehnour Flower Kind Iran Music Irani ايرانی Karaj Iranian Music Fafar

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

  • Order:
  • Duration: 4:30
  • Updated: 19 Apr 2010
  • views: 293
videos
https://wn.com/Farhad_Zadehnour_Flower_Kind_Iran_Music_Irani_ايرانی_Karaj_Iranian_Music_Fafar
Eritrean music by sulaeimn £ Karaj Dateit  الفنان سليمان احمد خارج  تعديت 2017

Eritrean music by sulaeimn £ Karaj Dateit الفنان سليمان احمد خارج تعديت 2017

  • Order:
  • Duration: 10:18
  • Updated: 11 Mar 2017
  • views: 388
videos
https://wn.com/Eritrean_Music_By_Sulaeimn_£_Karaj_Dateit_الفنان_سليمان_احمد_خارج_تعديت_2017
ANAND KARAJ (SIKH WEDDING) IN ROYAL STYLE

ANAND KARAJ (SIKH WEDDING) IN ROYAL STYLE

  • Order:
  • Duration: 4:17
  • Updated: 18 Oct 2016
  • views: 561
videos
BRIDE AND GROOM IN ROYAL DRESSING MAKE YOU FEEL HAPPY ABOUT OUR RICH CULTURE
https://wn.com/Anand_Karaj_(Sikh_Wedding)_In_Royal_Style
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: 357
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 - 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 - 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 mahalli Kurdî

Music of Iran, Karaj - Tasnîf-e mahalli Kurdî

  • Order:
  • Duration: 1:31
  • Updated: 27 Jul 2014
  • views: 874
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