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الموضوع: Radif: The integral repertory of Persian art music by Dariush Tala'i

  1. #41
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    18

    إفتراضي

    Tracks 37 to 42:
    الملفات المرفقة الملفات المرفقة
    أبو علاء

  2. #42
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    18

    إفتراضي

    Tracks 43 to 48:
    الملفات المرفقة الملفات المرفقة
    أبو علاء

  3. #43
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    18

    إفتراضي

    Tracks 49 to 54:
    الملفات المرفقة الملفات المرفقة
    أبو علاء

  4. #44
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    18

    إفتراضي

    And here are the last two tracks:
    الملفات المرفقة الملفات المرفقة
    أبو علاء

  5. #45
    AmbroseBierce Guest

    إفتراضي

    Thank you again, Mohsen, for the work you do to upload these albums. So many small pieces... And still one album to go - you must feel relieved once you're through.

  6. #46
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    18

    إفتراضي

    My pleasure, Paul. The problem is that this comes with all the other things I have to do for the forum and a big focus on the Egyptian section, the only one for which I'm knowledgeable to a certain extent. My knowledge as far as Turkish and Iranian music is concerned is little more than nil.
    أبو علاء

  7. #47
    AmbroseBierce Guest

    إفتراضي

    إقتباس المشاركة الأصلية بواسطة أبو علاء
    My pleasure, Paul. The problem is that this comes with all the other things I have to do for the forum and a big focus on the Egyptian section, the only one for which I'm knowledgeable to a certain extent. My knowledge as far as Turkish and Iranian music is concerned is little more than nil.
    Oh, I know that since Frederic Lagrange's entry into this forum many of you are in great "turmoil" - so many interesting things have happened in the Egyptian section since, and I am profiting also from that, though I can't contribute anything useful there. So I am even more thankful that you didn't forget the Radif for this section. This set of CDs is a real treasure.

  8. #48
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    18

    إفتراضي

    And the fifth and last volume will be coming soon.
    أبو علاء

  9. #49
    AmbroseBierce Guest

    إفتراضي

    To give some background to what you present to us, I add some information on the artist from his website http://www.dariush-talai.com/. First a biography and a list of his published works - recorded and written.


    Dariush Talai is one of the great masters of Persian classical music, whose creativity combines finely authenticity and innovation. His art has its roots in the tradition and at the same time opens itself generously to the world.
    Born in 1953 in Iran, he studied in the time-honored Persian tradition with masters of the Radif. His exceptional talent was recognized at an early age and as a young musician in Tehran, he was admitted to the circle of all the great masters of Persian Classiacl Music. In this atmosphere, he acquired an extensive knowledge of theory and a highly accomplished technique on the Tar and Setar. His teachers included the brilliant Tar player Ali Akbar Shahnazi, the late N.A. Borumand with whom he studied Radif and old compositions, as well as U. Forutan and A. Davami, with whom he studied Setar and vocal techniques and repertories.
    Master Talai taught at the University of Tehran, University of Sorbonne-Paris, University of Washington-Seatlle and was awarded a number of major prizes for his contribution to Persian Art Music. His collaboration with prestigious artists such as Maurice Bejart, Carolyn Carlson, Michel Portal… and with his numerous recordings and concerts throughout Europe and the USA, he has found a place in the western cultural heritage.
    Dariush Talai is not only an outstanding performer and master of Persian Art Music but, unlike most his predecessors, conscious that the Art Music, its techniques and repertory must be organized, explained and exposed in accessible books and if need, accompanied with audio materials. He has published several books and created a new method according to this principle.

    Curriculum Vitae

    Education
    1964-1971 National Conservatory of Music, Tehran.
    1971-1975 B.A., Faculty of Fine Arts, Tehran University.
    1979-1983 M.A., Music Education, University of Paris VIII
    1983 Ph.D. candidate, University of Paris X. Title for dissertation: "The Musical Modes in Iranian Tradition".

    Teaching Experience
    1992-2002 Professor of Persian Music in Tehran University, Faculty Fine Arts.
    1992 Course on "Classical Persian Music”, Music 389, Department of Music, University of Washington, Seattle.
    1991-92 Visiting Artist, Department of Music, University of Washington, Seattle.
    1979-89 Master teacher, Centre d'Etude de Musique Oreintale, Paris, Sorbonne.
    1976-79 Professor of Persian music in Tehran University, Faculty of Fine Arts.
    1971-79 Master teacher in the Center for the Preservation and Diffusion of Iranian Music, Tehran.

    Awards and Scholarships
    1975 In the Azmoon-e Barbad, Competition for traditional music, organized by Iranian Radio & Television:
    First prize for performance on the Tar,
    First prize for performance on the Setar,
    First prize for Best performance.
    1979-83 Scholarship for higher education from the French Government.
    1985 Research and Aid Creation Scholarship from French Ministry of Culture.



    Tapes, Videos and CDs

    1978 Anthologie de la musique traditionnelle - Setar and Tar (Record : Ref. Paris OCORA 558540).

    1980 Tradition classique de l'Iran (Record : Ref. Harmonia Mundi No. 1031), France.
    Side A : Improvisation in Shur - Side B : Improvisation in Mahour
    (D. Talai, Tar / D.Chemirani, Zarb).

    1982 Trobada de music a de mediterrani Vol. 1, Face 1 (Record : Ref. Diffusion mediterrania-lsagunt 17-13a 46009 Valencia).

    1983 Musique traditionnelle, Radio France (Two cassettes, Ref. OCORA 4558617/8).
    Cassette n°1 :
    SideA Improvisation in Mahour (D.Talai, Tar / D.Chemirani, Zarb).
    FaceB Improvisation in Shur (D.Talai, Setar / D.Chemirani, Zarb).
    Cassette n°2 :
    SideA Improvisation in Tchahargagh (D.Talai, Tar / D.Chemirani, Zarb).
    SideB Improvisation (D.Chemirani, Zarb), Tchaharmezrab Darvish khan (D.Talai, Setar / D.Chemirani, Zarb).

    1987 Dariush Talai : Tar and Setar (Cassette).
    Side A Improvisation in Nava, and (SideB) Modulation in Shur (D.Talai, Tar / D.Chemirani, Zarb).
    Side B Improvisation in Mahour (D.Talai, Setar / M.Gavihelm, Zarb).

    1988 Le Târ et le Sétâr de Dariush Talai (Video Tape, CEMO-INALCO).

    1991 Iran : Les Maîtres de la Musique Traditionnelle, France ;Vol.3 and Bands on Vol.1, Setar and Tar (CD, Ref. Paris OCORA C560024).
    Vol.1
    Band 1 Improvisation in Avaz-e Bayat-e Esfahan (D.Talai, Tar).
    Band 2 Improvisation in Tchahargah (D.Talai, Setar).
    Vol3
    Bands 1 to 4 Avaz-e Afshari - Bands 5 to end Dastgah-e Mahour
    (Shahram Nazeri, Vocal / D.Talai, Setar / B.Kamkar, Zarb and Daf).

    1992 Performance of Radif of Mirza Abdollah on the Setar (Six Cassettes and a book) in Iran.

    1992 Performance on Setar (Cassette in Iran, Mahur publication).
    In Shur, Bayet-e Esfahan and Segah (D.Talai, Setar).

    1993 "Concerti Digar" (Cassette in Iran).
    In Afshari and Mahour (D.Talai, Setar / Sh.Nazeri, Singer).

    1993 Iran : Les Grands Interprètes - Tradition Classique de l'Iran II, Le Târ (CD, Ref. Harmonia Mundi No. 1901031), France.
    The CD edition of the Record Ref.Harmonia Mundi No. 1031, listed above : Improvisation in Shur - Improvisation in Mahour (D. Talai, Tar / D.Chemirani, Zarb).

    1993 Performance of Radif of Mirza Ahdollah on the Setar in France (5 CDs) Al Sur.
    Vol 1 Dastgah-e Shur, Avaz-e Bayat-e Kord
    Vol 2 Avaz-e Dashti, Avaz-e Bayat-e Esfahan, Dastgah-e Homayoun
    Vol 3 Dastgah-e Nava, Dastgah-e Segah, Avaz-e Afshari
    Vol 4 Dastgah-e Mahour, Avaz-e Bayat-e Tork
    Vol 5 Dastgah-e Tchahargah, Dastgah-e Rast-Panjgah

    1997 Performance on Tar (Cassette in Iran) : "Sayeh Roshan".
    In Nava (D.Talai, Tar).

    1998 Performance on Setar (Cassette in Iran) : " Tchahargah".
    In Tchahargah (D.Talai, Setar).

    1998 "Dariush Talai en concert" - Concert of Utrecht August 30th 1996 (CD), Al Sur.
    1-Sâyé roshan (in Dashti) 2-Hekâyat1 (in Abou ata) 3-Yorghé (in Abou ata) 4-Naghmé (in Abou ata) 5-Hekâyat2 (in Neyshabourak and Nava) 6-Jamal (in Khojaste) 7-Khâb (in Forud bé Nava) 8-Aqiq (in Nava) 9-Elam (in Nava) 10-Sahari (in Nava) 11-Lâbé (in Nava) 12-Koubé (in Nahoft and Neyshabourak) 13-Anjâm (in Forud bé Nava) 14-Shâdegâni.


    PUBLICATIONS

    1983 "Persian music and poetry ; Analysis of the rhythm in Persian Music through Persian Prosody", M.A. thesis.

    1998 "23 Pieces Pishdaramds & Rengs of Ostad Ali Akbarkhan Shahanzi", Mahour Publication, Iran.
    1-Pishdaramad-e Shur 2-Reng-e Shur 3-Pishdaramad-e Abu ata 4-Reng-e Abu ata 5-Pishdaramad-e Bayat-e Tork 6-Reng-e Bayat-e Tork 7-Pishdaramad-e Afshari 8-Reng-e Afshari 9-Pishdaramad-e Dashti 10-Reng-e Dashti 11-Zarbi-e Segah (Solh) 12-Zarbi-e Segah (Djang) 13-Reng-e Segah 14-Pishdaramad-e Tchahargah 15-Reng-e Tchahargah 16-Dozarbi-e Tchahargah 17-Pishdaramad-e Homayoun 18-Reng-e Homayoun 19-Pishdaramad-e Bayat-e Esfahan 20-Reng-e Bayat-e Esfahan 21-Pishdaramad-e Mahour 22-Reng-e Mahour 23-Fantasy in G Major.

    1999 The Radif of Mirza Abdollah : An notated Score, including an explanation of the radif and modal structure of Persian Art Music. Published with the Setar performance of the Radif, listed above under recordings. MAZDA PUBLISHER, Inc.Costa Mesa, CA 92626 U.S.A.

    2002 "A new Approach to the Theory of Persian Art Music : The Radif and the Modal System", in the Garland Encyclopaedia of World Music.

  10. #50
    AmbroseBierce Guest

    إفتراضي

    Then something on the instruments he is playing, namely the Setar (as on these CDs) and the Tar:


    The Setar
    The Setar is a lute made up of a small pear-shaped body and a long fingerboard. There are 25 gut frets going up the fingerboard at the end of which are four small pegs. Although the Setar is variable in shape, the body must be small enough to be held in one hand, and the length of the fingerboard is such that the strings are never longer than 67 cm. The body is made of mulberry, the fingerboard is made of walnut and the pegs are made of walnut or mulberry.
    Because of its light weight (around 350 grams), its rich and delicate sound an intimate volume, the Setar is the instrument and favourite companion of erudites and music lovers which prefer playing for themselves rather than for a public.
    The famous tanbur of Khorassan (North Eastern province of Iran) which is part of the iconography of the Sassanides (III and VIIth centuries) studied by Farabi in the Xth century is a close ancestor to this instrument.
    The word "Setar" means three strings, but today there are four strings on the Setar. A fourth string was added between the former second and third strings. This fourth string doubles the third string, but one octave higher, in an aim to enrich the other strings. It is not played alone. This innovation is attributable to Moshtaq Ali Shah at the end of the XIXth century.
    The long fingerboard lute is very popular and widespread throughout Central Asia in various shapes and sizes but the Setar holds a special place due to its specific and unique technique in Persian Music. It is played in a combination of stroks by the index from the bottom towards the top and vis-versa. The tip of the finger, fingernail and skin strum one or several strings, bringing out the melody on the melody string that is played by enveloping it in notes strummed on the adjacent strings or by picking the bass chord in an irregular rhythmic beat.
    The range of Setar is of over two and a half octaves.


    The Tar
    The Tar was the chosen instrument of the great masters of Persian classical music who flourished in such abundance between the mid-nineteenth and the first third of the twentieth centuries. It has remained no less in favour today. It is not known how far back its origins go ; however it seems that the Tar appeared in its present form around the middle of the 18th century.
    The Tar belongs to the Iute family. It has a resonating body in the shape of two bowls joined together. They are of mulberry wood. The sounding-board is in the shape of two hearts joined at the tips. This sounding-board is made of lambskin with the bridge placed on the lower, i.e. the broader hall. The long fingerboard is furnished with twenty five frets of catgut lied round the neck and six (formely five) strings, two of which are double. They are plucked with a plectrum usually made of a brass blade mounted in a small bail of wax.
    The Tar has a range of about two and a half octaves.
    الملفات المرفقة الملفات المرفقة

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