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Santur Players
The santur ( ; ) is a hammered dulcimer of Iranian origin.--- Rashid, Subhi Anwar (1989). ''Al-ʼĀlāt al-musīqīyya al-muṣāhiba lil-Maqām al-ʻIrāqī''. Baghdad: Matbaʻat al-ʻUmmāl al-Markazīyya. History The santur was invented and developed in the area of Iran. "The earliest sign of it comes from Assyrian and Babylonian stone carvings (669 B.C.); it shows the instrument being played while hanging from the player's neck" (35). This instrument was traded and traveled to different parts of the Middle East. Musicians modified the original design over the centuries, yielding a wide array of musical scales and tunings. The original santur was likely made with wood and stone and strung with goat intestines. According to Habib Hasan Touma, the Babylonian santur was the ancestor of the harp, the yangqin, the harpsichord, the qanun, the cimbalom, and the hammered dulcimers. Name The name 'santur' may come from Persian ''sanṭīr'', a borrowing of the Greek ψαλτήρ� ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mezrab (plectrum)
A ''mezrāb'' or ''miżrāb'' (from ), also known as a ''zak͟hma'' or ''zak͟hmeh'' (), is a plectrum which is used for several Iranian and Indian string instruments. For sitar, a mezrab is worn on the finger of a sitar player. It is a plectrum made by hand from a continuous strand of iron used to strike the strings of the sitar. Although it is generally worn on the index finger, a second mezrab is sometimes worn on the middle finger, middle or pinky finger, little finger. The mezrab fits tightly on the end of the finger so that it does not move while playing, intended to be projected roughly 1/4 inch from the end of the finger. Mezrab is also the name for the lightweight wooden hammer used to play the Persian Santoor (Persian instrument), santur. Different strokes used There are four different Bols (strokes) used when playing sitar: Da, Ra, Dir and Dra. *Da Bol - When the stroke is from outward to inward on the first string. *Ra Bol - When the stroke is from inward ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Manoochehr Sadeghi
Manoochehr Sadeghi (born April 13, 1938) is a Persian-American naturalized citizen, born in Tehran, Iran. He is considered an ustad (grand master) of the santur, a Persian hammered dulcimer. He has been lecturing, teaching, recording and performing Persian classical music on the santur professionally for over 50 years. In 2002, Sadeghi received the Durfee Foundation Master Musician Award and he is a recipient of a 2003 National Heritage Fellowship from the National Endowment of the Arts, which is the United States' highest honor in the folk and traditional arts. Early life Sadeghi began studying the santur at the age of 7 with a music teacher coincidentally named Manoochehr Sadeghian. By the age of 14 he became the prized pupil of a legendary figure in Persian classical music, Abolhasan Saba, who was a master and creator of the Radif of Saba, considered today's manual to mastering Persian classical music. At the age of 19 he performed in Saba's first orchestra of the State F ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Amir Aghasi
Emir (; ' (), also transliterated as amir, is a word of Arabic origin that can refer to a male monarch, aristocrat, holder of high-ranking military or political office, or other person possessing actual or ceremonial authority. The title has a history of use in West Asia, East Africa, West Africa, Central Asia, and South Asia. In the modern era, when used as a formal monarchical title, it is roughly synonymous with "prince", applicable both to a son of a hereditary monarch, and to a reigning monarch of a sovereign principality, namely an emirate. The feminine form is emira ( '), with the same meaning as "princess". Prior to its use as a monarchical title, the term "emir" was historically used to denote a "commander", "general", or "leader" (for example, Amir al-Mu'min). In contemporary usage, "emir" is also sometimes used as either an honorary or formal title for the head of an Islamic, or Arab (regardless of religion) organisation or movement. Qatar and Kuwait are the only i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Abol Hassan Saba
Abolhasan Saba (; April 15, 1902 – December 19, 1957) was a renowned Iranian composer, violinist, and setar player. Biography He was born in Tehran to Abul Qasim Khan ''Kamal ol-Saltaneh'', son of Mohammad Jafar Khan ''Sadr ol-Hekma'', son of Mahmud Khan Kashi ''Malak ol-Shoara'' ''Sadr ol-Shoara'' ''Saba ol-Shoara'', son of Mohammad Hossain Khan ''Malak ol-Shoara''. He studied several Iranian and non-Iranic musical instruments and became an Ostad in Radif, but he selected violin and setar as his specific instruments. He was a student of Mirza Abdollah as well as Darvish Khan. Saba is one of Iran's most influential traditional and instrumental Persian music figures. His first radio recording was in 1927 when he played violin alongside Iran's famous singer Ruhangis. Notable Pupils Amongst his many students who went on to become great masters of Persian traditional music were Faramarz Payvar, Manoochehr Sadeghi, Habibollah Badiei, Rahmatollah Badiyi, Abbas Emadi, Ali Tajvi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maqam Al-iraqi
Iraqi Maqam () is a genre of Arabic maqam music found in Iraq. The roots of modern Iraqi maqam can be traced as far back as the Abbasid Caliphate (8th–13th centuries AD), when that large empire was controlled from Baghdad. The ensemble of instruments used in this genre, called ''Al Chalghi al Baghdadi'', includes a ''qari' ''(singer), '' santur'', goblet drum, joza, ''cello,'' and sometimes '' oud'' and naqqarat. The focus is on the poem sung in classical Arabic or an Iraqi dialect (then called ''zuhayri''). A complete maqam concert is known as ''fasl'' (plural ''fusul'') and is named after the first maqam: Bayat, Hijaz, Rast, Nawa, or Husayni. A typical performance includes the following sections: *''tahrir'', sometimes ''badwah'' *''taslum'' *''finalis'' Maqama texts are often derived from classical Arabic poetry Arabic poetry ( ''ash-shi‘r al-‘arabīyy'') is one of the earliest forms of Arabic literature. Pre-Islamic Arabic poetry contains the bulk of the old ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rebab
''Rebab'' (, ''rabāba'', variously spelled ''rebap'', ''rubob'', ''rebeb'', ''rababa'', ''rabeba'', ''robab'', ''rubab'', ''rebob'', etc) is the name of several related string instruments that independently spread via Islamic trading routes over much of North Africa, Middle East, Central Asia, Southeast Asia, and parts of Europe. The instrument is typically bowed, but is sometimes plucked. It is one of the earliest known bowed instruments, named no later than the 8th century, and is the parent of many bowed and stringed instruments. Variants There are chiefly three main types: A long-necked bowed variety that often has a spike at the bottom to rest on the ground (see first image to the right); thus this is called a spike fiddle in certain areas. Some of the instruments developing from this variant have vestigial spikes. A short-necked double-chested or "boat-shaped" variant; plucked versions like the '' Maghreb rebab'' and the ''kabuli rebab'' (sometimes referred to as ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Iraqi Santur Player
Iraqi or Iraqis (in plural) means from Iraq, a country in the Middle East, and may refer to: * Iraqi people or Iraqis, people from Iraq or of Iraqi descent * A citizen of Iraq, see demographics of Iraq * Iraqi or Araghi (), someone or something of, from, or related to Persian Iraq, an old name for a region in Central Iran * Iraqi Arabic, the colloquial form of Arabic spoken in Iraq * Iraqi cuisine * Iraqi culture *The Iraqis (party), a political party in Iraq *Iraqi List, a political party in Iraq *Fakhr-al-Din Iraqi, 13th-century Persian poet and Sufi. See also * List of Iraqis * Iraqi diaspora * Languages of Iraq There are a number of languages spoken in Iraq, but the lingua franca; Mesopotamian Arabic (also known as Iraqi Arabic) is by far the most widely spoken in the country. Contemporary language The most widely spoken language in Iraq is the Arabi ... * {{disambiguation Language and nationality disambiguation pages ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Iraqi Santur
The santur ( ; ) is a hammered dulcimer of Iranian origin.--- Rashid, Subhi Anwar (1989). ''Al-ʼĀlāt al-musīqīyya al-muṣāhiba lil-Maqām al-ʻIrāqī''. Baghdad: Matbaʻat al-ʻUmmāl al-Markazīyya. History The santur was invented and developed in the area of Iran. "The earliest sign of it comes from Assyrian and Babylonian stone carvings (669 B.C.); it shows the instrument being played while hanging from the player's neck" (35). This instrument was traded and traveled to different parts of the Middle East. Musicians modified the original design over the centuries, yielding a wide array of musical scales and tunings. The original santur was likely made with wood and stone and strung with goat intestines. According to Habib Hasan Touma, the Babylonian santur was the ancestor of the harp, the yangqin, the harpsichord, the qanun, the cimbalom, and the hammered dulcimers. Name The name 'santur' may come from Persian ''sanṭīr'', a borrowing of the Greek ψαλτήρ� ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Romani Music
Romani music (often referred to as Gypsy or Gipsy music, which is often considered a derogatory term) is the music of the Romani people, an ethnic-minority group concentrated in parts of Europe. Historically nomadic, though now largely settled, the Romani people have long acted as entertainers and tradesmen. In many of the places Romani live they have become known as musicians. The wide distances travelled have introduced a multitude of influences of: French, German, Greek, Indian, Persian, Romanian, Slavic, Spanish and Turkish musical traditions. It is difficult to define the parameters of a unified Romani musical style, as there are differences in melodic, harmonic, rhythmic and formal structures from region to region. Lyrics to Romani songs often incorporate one or more dialects of the Romani language, and dance frequently accompanies Romani music performance. The quintessentially Spanish flamenco is to a very large extent the music (and dance, or indeed the culture ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Santoor
The Indian santoor instrument is a trapezoid-shaped hammered dulcimer, and a variation of the Iranian santur. The instrument is generally made of walnut wood and has 25 bridges. Each bridge has 4 strings, making for a total of 100 strings. It is a traditional instrument in Jammu and Kashmir, and dates back to ancient times. It was called ''Shatha Tantri Veena'' in ancient Sanskrit texts. Development In ancient Sanskrit texts,it has been referred to as ''shatatantri vina'' (100-stringed vina). In Kashmir the santoor was used to accompany folk music. It is played in a style of music known as the ''Sufiana Mausiqi''. Some researchers slot it as an improvised version of a primitive instrument played in the Mesopotamian times (1600–900 B.C.) Sufi mystics used it as an accompaniment to their hymns. In Indian santoor playing, the specially-shaped mallets (''mezrab'') are lightweight and are held between the index and middle fingers. A typical santoor has two sets of bridges, provi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Radif (music)
''Radif'' (, ) is a collection of many old Melody type, melodic figures preserved through many generations by oral tradition. It organizes the melody, melodies in a number of different Tonality, tonal spaces called ''dastgāh''. The Persian traditional music, traditional music of Iran is based on the ''radif'', which is a collection of old melodies that have been handed down by the masters to the students through the generations. Over time, each master's own interpretation has shaped and added new melodies to this collection, which may bear the master's name. The preservation of these melodies greatly depended on each successive generation's memory and mastery, since the interpretive origin of this music was expressed only through the oral tradition. To learn and absorb the essence of the ''radif'', many years of repetition and practice are required. A master of the ''radif'' must internalize it so completely to be able to perform any part of it at any given time. The ''radi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
