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Iranian Music

disembark in a country stigmatized and particular, but with an ancient history which can be seen in part for its music and its influences on other peoples. Not refer to the territory of Islamic Republic of Iran, its capital is Tehran and its population is estimated at 70 million.

until 1935 was known in the West as Persia. Precisely the Persian language is the official language also known as Fahsi who also spoken in Afghanistan, Tajikistan, part of India, and part of Pakistan.

Iran belonged to the early twentieth century a large portion of the land of Persia.

The Persian Empire stretched from Mesopotamia to and from India Caspian Sea to the Gulf Persian now countries Afghanistan, Iran and Iraq. They fought against the Romans and later the Byzantines for control of the territories of present Syria , Turkey , Palestine, Israel , Egypt and Saudi . The capital of the Persian Empire was Ctsesiphon today Baghdad, now the capital of Iraq.

But going to the musical aspect of Iranian culture, we say that Iran's traditional music is modal and monophonic. Mono because all the instruments play the same melodic scheme without harmonic overtones, and is modal because there are twelve basic modes, seven primary S called dastgah five Avaz-s known side from which are built rhythmic and melodic patterns that allow improvisation.

The construction of the Persian musical modes is similar to that of the Greeks, or by joining two tetrachords or four-note sequences. Although his pitch varies considerably in relation to the West.

Iranian music is mainly based on improvisation from the ways described and its transmission has usually been orally from teacher to student. Improvisation takes place from modal melodic rhythmic formulas. These formulas or parts of each mode on them called Gush and carried out impromptu performance, so that each artist can interpret each Gusher differently. Therefore, even the same piece played by the musician himself in the same concert will be different in its melody, form, duration and emotional impact.

These standards melodic patterns of Iranian traditional music, have been codified and systematized into a body called Radif whose content has been written in the early twentieth century, although as we said ancestrally belong to the oral tradition.

Radif There are different versions of each artist interpreted under the instrument you use. The performances usually consist of a melody sung by a soloist or occasionally in a duo with percussion accompaniment, although the orchestral combinations have become more popular over the years.

usual instrumental groups of Persian classical music today are composed of five of melodic character, one to three rhythmic and include also a singer.

Among the first ones the pulse chordophones tar, Setar, barbat (or 'ud , Arabic lute), santur psaltery, violin kemanché and ney flute , with percussion Tombak, Zarb and daf .

The Setar, a stringed instrument Tanbur descendant of pre-Islamic, is made of wood and has 25 or 26 fret adjustable. The literal translation of Setar is "Three Strings", although this has four strings, this instrument is preferred by the Sufis.

are several and various types instruments adopted in the Iranian music. The Santur, for example, is a dulcimer similar to that used in classical music of India.

A fairly widespread wind instrument is the ney flute common in the Near East (in the region of mágbreb) which is also used in Iran. Also used the kemanché, a violin similar to the viola Arab rebab, with four strings tuned like the violin, but held vertically on the left thigh, while the right hand holds the bow and Oud in Iran is called Barbat, another popular stringed instrument not only in Iran but especially in Turkey and Greece. Continuing with the stringed instruments in addition to the Setar, you may find a longer string instrument similar but called Tar.

The most popular percussion instrument is perhaps the Tombak, a wooden drum covered lambskin cup-shaped, similar in appearance to the darbuka his playing technique is also similar to that of the darbuka with both hands percussing their fingers in different ways. It serves not only as accompanied by rhythmic patterns, but also to accentuate and ornament the melodic phrases. A derivative of the Zarb Tombak is slightly larger than the Tombak and wider mouth, the sound and manner of implementation is closer to the tables of India. may also mention the Daf, another tool used by the Sufis that looks like a tambourine, similar to but larger Brazilian pandeiro is used in Iran both for classical music to popular music. Iranian percussionist Moshen Kasirossafar is a master both Tombak and daf in addition to Bulgarian Veselin Mitev (who plays the Kaval, Bulgarian traditional flute and the Gaida , also a native of that latitude) they held together an album in 2004 entitled Ditirambi where pastoral tradition explore the common past of both countries with Indo-European origin.

Hossein Alizadeh. POETRY

Beyond instrumental aspect is important to focus also on the lyrical aspect as many you like suit traditional verse that says the singer. There is a vast treasure classic poetry in Iran, which comes from medieval times until presente de la mano de los cantantes. La mayoría de los poemas son libres rítmicamente, es decir no están delimitados por la métrica. Pero si poseen un fraseo intrínseco en cada palabra, generalmente son interpretados estos poemas en un contexto musical, en un conjunto o suite de gushes o motivos musicales extraídos del radif. Si bien la poesía clásica iraní remonta a tiempos medievales y la codificación de los radif es moderna, las formas musicales parecen datar de la época clásica en Persia. La música iraní, esta dotada de estos tesoros milenarios que dentro de sus reglas dan rienda suelta a la oración e improvisación de los artistas.

One of the master musicians Hossein Alizadeh radif is born in Tehran in 1951 who was nurtured by great artists such as Houshang Sharif, Aki Akbar Sanázi, Yousef Foroutan Abdollah Davami or others. Hossein study at music school in Tehran. And then integrate the national orchestra and became the conductor and soloist of the same. Always dedicated to the diffusion of Persian classical music, he joined the Aref Ensemble and worked with other similar assemblies. His first professional experience in Europe was next to the ballet by Maurice Bejart in the 80's. then studied composition and musicology in Berlin.

has performed throughout the mundo, apareciendo en diversos programas televisivos interpretando sus grandes composiciones, aportes invaluables para la música clásica de Irán. Quizás Alizadeh sea uno de los maestros más importantes de la escena musical contemporánea de medio oriente.

Enseño en la universidad de Teherán y en el conservatorio nacional. Escribió y publico una docena de estudios para Tar y grabo el extenso material de radif basado en la interpretación de Mirza Abdullah para Tar y Setar. Junto al músico y compositor armenio Djivan Gasparyan gran interprete del Duduk, un instrumento de viento muy popular en los caucazos cuyo sonido es similar al oboe y que en Irán se conoce bajo el nombre of Balaban. Performed a legendary concert in Tehran in 2003 that brought more than 10 000 people was recorded live between those recordings is possible to find this item entitled Sari Galin.

Santur and Tombak

When we mention the typical instruments of Iranian music beyond Tombak, one of the most important percussion instruments made a brief reference to Santur; The Santur is simply the name that is applied in Turkey and Iran to Dulcimer. This instrument is known in Mexico and Brazil as the Psalter. Its importance lies in its one of the oldest instruments in human history. Of Persian origin, is mentioned in the Old Testament, when in 1500 A . C. King David sang his psalms accompanied by this noble instrument. The psaltery or dulcimer has up to 120 strings, is played with two thin sticks and gives rise to the piano, cymbals and the harpsichord. In Iran, ancient Persia, the cradle of this instrument is known as the Santur. Its shape is trapezoidal or triangular as the ancient zither. The Iranian Santur has 72 strings but etymologically name can be translated from Persian as "one hundred strings."

The typical dulcimer has two different bridges allowing you to have an extension of 3 / 8 registration was the forerunner of many similar instruments in Armenia and Turkey. In India you can find the Santoor, more rectangular and more strings that gave rise santur yangqin also Chinese, the harpsichord to the piano and even the cymbal that used Romans or Gypsies in Eastern Europe. The instrument also derives from the Greek Sandouri santur, in fact in the classic novel Zorba the Greek, the protagonist, plays Zorba Sandouri. Once again establishing cultural links between peoples through an instrument that in one way or another we tells the story of civilization.

V olviendo Iran, and in relation to Santur we can refer to one of the musicians who have decided to translate his art with this instrument. Alireza Mortazavi, was born in 1976 Ishfahan since childhood was dedicated to this instrument and even won awards in local contests. Then, it passes through Germany and Italy, influenced him to extend their roots to Western conceptions. With his brother Mohamadreza Mortazavi, Alireza carry out work where the dialogue is paramount between two instruments, the dulcimer and Tombak. Blooded Iranian music with this instrument ancient string interacting with the drum most popular Persian traditional music. In 2004 the brothers released "Now and then" Disk which includes among other things the background is playing Santur and Tombak entitled precisely.

SUFISM

The Sufism (in Arabic تصوف Tasawwuf) is the esoteric aspect of Islam, is ascetic and mystical response with pre-Islamic history, the imposition of religious, political and social life of Islam by the Arabs in the territories conquered the Byzantine and Sassanid empires. It is said that neo Persian language, which arose around the twentieth century AD, is the lingua franca of Sufism. This spiritual movement has been fertile fruits in the literary and musical.

the beginning of the program we made reference to their structure, based on different ways on which melodic rhythmic patterns called forth gushed over which improvisation is allowed.

The gusher usually have an internal form of arc that rises to the climax ( auj ) about two-thirds of the part to resolve after the initial mood and tone of melody, very similar to how the tunes progress of the Western classical tradition.

The interpretation of this repertoire, with a strong spirit of improvisation, creates an effect called hal , or inspiration, can actually make the listener aware both as a musician. This tradition is nurtured particularly the Sufi mystical philosophy, especially as the theme of his poetry concerns and vocal performance.

VAS

Iran has given birth to one of the most prolific and talented singers of the Middle East today . His talent is not just as a performer but as a composer. His name is Azam Ali, a multifaceted artist who made an interesting solo resuming European medieval songs from Part of that included a English gasped. A turn in the project Niyaz, takes verses of Sufi poets ancient and ancestral melodies merged version with electronic music. But beyond Niyaz, his latest project and his solo album, Portals of grace to which I referred, the first steps of Azam Ali international recording career came with the duo Vas, along with prominent American percussionist Greg Ellis. Born in 1996, this project originated when these two great musicians met at the University of California at Los Angeles and began making music. They eventually signed with Narada label, distributed by Virgin and held 4 successful albums Highlights from not only the artistic but also critically acclaimed. These musicians beyond their personal ambitions and going their point of convergence, have played with various artists around the world and even sang and played in the final issue of the famous last part of the Matrix trilogy.

Azam Ali, born in Iran but grew up from 4 years in India absorbing the richness of this culture, which apply not only to his singing but also their own compositions. The last work edited with Greg Ellis in the duo Vas, is entitled Feast of Silence, published in 2004, is plagued mainly original compositions using bass, guitar, flute called Bansuri and multiple ethnic percussion Greg Ellis, including African Drums different latitudes as well as bells and cymbals from Indonesia.

His latest album is called Feast of silence and was released in 2004 after 3 year break with this project because both artists, touring and recording with musicians such Beck, Serj Tankian of System of a dawn, among others.