• Amira Medunjanin & REKA - Balkan River of Music - UCI ME MAMO, KARAJ ME

    Amira Medunjanin & REKA - Balkan River of Music - UCI ME MAMO, KARAJ ME 3. SARAJEVO SEVDAH FEST

    published: 16 Sep 2013
  • 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 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
  • karaj lost coast: one dimensional town (HQ)

    as the world becomes more complex, the discussion becomes more limited... in exasperation for the politics of the moment... better on full screen in HQ with other quality enhancements... an early track from the next record! thanks to splendor of colors visuals: © 2012 color trips animation. more at www.hdcolors.com words and music © 2016 karaj lost coast www.karajlostcoast.com

    published: 15 Sep 2016
  • Music of Iran, Karaj - Tasnîf-e Dashtî

    ●▬▬▬▬▬▬▬▬▬▬▬▬▬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
  • Karaj Raas

    published: 13 Mar 2017
  • Tehran Karaj in 60 second .

    Time-laps of traveling between 2 major cities of Iran . Music by Gustavo Santaolalla album Black Butterflies

    published: 25 Mar 2015
  • 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
  • karaj

    a baby praying mantis on a rose in a garden in karaj (summer 2007)

    published: 13 Apr 2008
  • Bioritam - Uchi me majko karaj me (Audio 2004) Senator Music Bitola

    Биоритам - Учи ме мајко карај ме CD2 Продуцент: Цане Петров Извршен продуцент: Антонио Ивановски Благодарност до: Муз. Студио "Бубе" - Скопје Ферус Мустафов Анета Наковска Горан Стоилков www.senator.com.mk © ℗ 2004 Senator Music Bitola All rights reserved

    published: 09 Apr 2016
  • Music of Iran, Karaj - Tasnîf va so´âl va javâb-e

    ●▬▬▬▬▬▬▬▬▬▬▬▬▬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
  • Darius Syrossian & Nyra - Karaj (Hugo Remix)

    Darius Syrossian & Nyra - Karaj (Hugo Remix) Genre: Tech-House Label: Viva Music

    published: 18 May 2009
  • Karaj- Ghabe shishei - S.ghomayshi

    My Beautiful City, Karaj

    published: 15 Mar 2013
  • hossein hellboy, pelak 68 , KARAJ , persian rap

    published: 27 Dec 2010
  • 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
Amira Medunjanin & REKA - Balkan River of Music - UCI ME MAMO, KARAJ ME

Amira Medunjanin & REKA - Balkan River of Music - UCI ME MAMO, KARAJ ME

  • Order:
  • Duration: 6:50
  • Updated: 16 Sep 2013
  • views: 26505
videos
Amira Medunjanin & REKA - Balkan River of Music - UCI ME MAMO, KARAJ ME 3. SARAJEVO SEVDAH FEST
https://wn.com/Amira_Medunjanin_Reka_Balkan_River_Of_Music_Uci_Me_Mamo,_Karaj_Me
Music of Iran, Karaj - Avâz Shooshtari

Music of Iran, Karaj - Avâz Shooshtari

  • Order:
  • Duration: 5:16
  • Updated: 27 Jul 2014
  • views: 739
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 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: 1086
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)
karaj lost coast:  one dimensional town (HQ)

karaj lost coast: one dimensional town (HQ)

  • Order:
  • Duration: 5:50
  • Updated: 15 Sep 2016
  • views: 457
videos
as the world becomes more complex, the discussion becomes more limited... in exasperation for the politics of the moment... better on full screen in HQ with other quality enhancements... an early track from the next record! thanks to splendor of colors visuals: © 2012 color trips animation. more at www.hdcolors.com words and music © 2016 karaj lost coast www.karajlostcoast.com
https://wn.com/Karaj_Lost_Coast_One_Dimensional_Town_(Hq)
Music of Iran, Karaj - Tasnîf-e Dashtî

Music of Iran, Karaj - Tasnîf-e Dashtî

  • Order:
  • Duration: 1:54
  • Updated: 27 Jul 2014
  • views: 369
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_Dashtî
Music of Iran, Karaj - Reng

Music of Iran, Karaj - Reng

  • Order:
  • Duration: 3:09
  • Updated: 27 Jul 2014
  • views: 455
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
Karaj Raas

Karaj Raas

  • Order:
  • Duration: 6:56
  • Updated: 13 Mar 2017
  • views: 825
videos
https://wn.com/Karaj_Raas
Tehran Karaj in 60 second .

Tehran Karaj in 60 second .

  • Order:
  • Duration: 1:15
  • Updated: 25 Mar 2015
  • views: 141
videos
Time-laps of traveling between 2 major cities of Iran . Music by Gustavo Santaolalla album Black Butterflies
https://wn.com/Tehran_Karaj_In_60_Second_.
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: 373056
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_||
karaj

karaj

  • Order:
  • Duration: 0:12
  • Updated: 13 Apr 2008
  • views: 267
videos
a baby praying mantis on a rose in a garden in karaj (summer 2007)
https://wn.com/Karaj
Bioritam - Uchi me majko karaj me (Audio 2004) Senator Music Bitola

Bioritam - Uchi me majko karaj me (Audio 2004) Senator Music Bitola

  • Order:
  • Duration: 4:21
  • Updated: 09 Apr 2016
  • views: 196
videos
Биоритам - Учи ме мајко карај ме CD2 Продуцент: Цане Петров Извршен продуцент: Антонио Ивановски Благодарност до: Муз. Студио "Бубе" - Скопје Ферус Мустафов Анета Наковска Горан Стоилков www.senator.com.mk © ℗ 2004 Senator Music Bitola All rights reserved
https://wn.com/Bioritam_Uchi_Me_Majko_Karaj_Me_(Audio_2004)_Senator_Music_Bitola
Music of Iran, Karaj - Tasnîf va so´âl va javâb-e

Music of Iran, Karaj - Tasnîf va so´âl va javâb-e

  • Order:
  • Duration: 7:41
  • Updated: 27 Jul 2014
  • views: 467
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_Tasnîf_Va_So´Âl_Va_Javâb_E
Darius Syrossian & Nyra - Karaj (Hugo Remix)

Darius Syrossian & Nyra - Karaj (Hugo Remix)

  • Order:
  • Duration: 7:16
  • Updated: 18 May 2009
  • views: 14010
videos
Darius Syrossian & Nyra - Karaj (Hugo Remix) Genre: Tech-House Label: Viva Music
https://wn.com/Darius_Syrossian_Nyra_Karaj_(Hugo_Remix)
Karaj- Ghabe shishei - S.ghomayshi

Karaj- Ghabe shishei - S.ghomayshi

  • Order:
  • Duration: 5:06
  • Updated: 15 Mar 2013
  • views: 346
videos https://wn.com/Karaj_Ghabe_Shishei_S.Ghomayshi
hossein hellboy, pelak 68 , KARAJ , persian rap

hossein hellboy, pelak 68 , KARAJ , persian rap

  • Order:
  • Duration: 2:51
  • Updated: 27 Dec 2010
  • views: 1319
videos
https://wn.com/Hossein_Hellboy,_Pelak_68_,_Karaj_,_Persian_Rap
Music of Iran, Karaj - Gat-e Kurdî

Music of Iran, Karaj - Gat-e Kurdî

  • Order:
  • Duration: 1:57
  • Updated: 27 Jul 2014
  • views: 522
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
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