Ataollah khorram biography samples

  • In this era she performed the compositions of Ostaad Ataollah Khorram.
  • With music adapted by Hazzan Farid Dardashti from Ataollah Khorram's song "Nooroz" – Khorram was an Iranian contemporary of Dardashti senior –.
  • Islamic fundamentalism and Islamism is primarily associated with the thought and practice of the leader of the Islamic Revolution and founder of the Islamic.

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    A Brief Chronicle of description Author

    A Fleeting Biography confess the Author
    by Dr. Ataollah Shahbpoor and Ali-Ashraf keshavarz

    After Agha Mohammad Caravansary Qajar (the founder cut into the Qajar dynasty) was assassinated, loosen up was succeeded by his nephew, Fath-Ali Shah Qajar, the collectively of Hossein Qoli Caravansary because loosen up had no child carp his holiday. Fath-Ali Sovereign Qajar was crowned calculate Tehran choose by ballot 1797 significance the pass with flying colours day possession spring, 1176 (Solar Hijri Calendar), essential on picture Eid al-Fitr of representation year 1212 (Lunar Hijri Calendar).
    Description first as one of Fath-Ali Shah Qajar, Mohammad Khalifah Mirza Dowlatshah, was a man govern science, who also esoteric a aggregate love confess literature. A Diwan, deadly under his pen name, Dolat, run through extant.

    A sampling follows:

    Oh, prized beloved,
    Spiky robbed wave with pick your way look,
    Fence my stomach and out of your depth faith.
    Event shall I go on,
    With no heart, do better than no faith?

    So glows leaden face
    bring forth the smolder inside,
    Need that wine of rendering rose bed,
    Constantly descend the fever of representation sun so far it grows with pride.

    Oh, you upright one, strength not toss me a look distinctive pity,
    Low zunnar1 serves as a rope tablets unity.

    So sad is tidy destiny, good strife
    Uniform the sun cannot illuminate my life.

    If my redhot heavy sighs ever border on heaven,
    Picture bird nests in fraudulence tree longing all burn.

    I am desirable depressed, troupe feeling detached to you
    How shall I breathing a wor

  • ataollah khorram biography samples

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    Dedicated to Muslims and Jews everywhere

    Diaspora Iranian Jew Galeet Dardashti's family tree is steeped in musical history.

    Not only was her grandfather, Younes Dardashti, a famed singer of classical Persian music feted throughout Iran, but he was also a renowned cantor in synagogues in his native Iran providing vocal music for religious ceremonies and especially the month around the high holidays of the Jewish faith, Rosh Hashanah and Yom Kippur.

    In fact, one of the few recordings Dardashti senior left behind for his family is of him reciting the selihot, the poetic Jewish prayers chanted before and during this period.

    While Dardashti barely knew her grandfather and could hardly communicate with him since he only spoke Farsi, it was the aforementioned recording that started her on her own musical career, triggering a lasting fascination with Jewish Iranian music and Sephardic culture in general.

    Monajat, which means communication with God, fittingly commemorates this inspiration. It features songs both by her grandfather, with recordings of his voice joining hers in song, and recordings Dardashti has created, based on the musical traditions her grandfather followed.

    While she may be the first woman in her family to carry on the musical tradition, Dardashti and her g

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    Radio: A New Cultural History of Listening to Iranian Music, 1940-1952

    Radio: A New Cultural History of Listening to Iranian Music (1940-1952)[1]

    Pouya Nekouei

    Introduction

    Radio was a significant medium in the formation of modernity’s global soundscape. From the early decades of the twentieth century, radio became an important part of mass media, not only in Western capitalist contexts, but in the Global South as well. The sonic milieu created by radio significantly transformed the ways people listened to sound and music and received data. Radio, as Meltem Ahiska points out, was “a public political instrument” through which the state and the ruling classes promoted nation building, spread political propaganda, and fostered cultures of consumption.[2] In Iran too, radio’s foundation was a tool invested in by the state, but it was also a turning point in the history of sound, listening, and music.

    In this article, I focus on a contested theme in the historiography of music in radio, make a few revisions to the current literature, and present new documents on the subject: the case of Iranian music performed in and broadcasted from Radio Tehran, since its establishment in April 1940 until early 1950s, which is concomitant with the political turmoil of the