03288nam 22005893 450 991102613680332120251022004645.097819208503641920850368(MiAaPQ)EBC31747484(Au-PeEL)EBL31747484(CKB)36479409600041(MiAaPQ)EBC31888773(Au-PeEL)EBL31888773(Perlego)4620708(OCoLC)1492946518(OCoLC)1467877203(EXLCZ)993647940960004120241104d2024 uy 0engurcnu||||||||txtrdacontentcrdamediacrrdacarrierTraditional Iranian Music Orality, Physicality and Improvisation1st ed.Portland :Trans Pacific Press,2024.©2024.1 online resource (193 pages)9781920850340 1920850341 What is radīf : Toward a Redefinition of the Word -- The Vocal Image Underlying Notation Reading -- Improvisation, Mental State and Memory -- Charkh : The Circulatory Paradigm in Performance Form and Musical Structure -- Analysis of Gūshes -- Change in the Context for Learning Improvisation : The Influence of Writing on Iranian Music -- How Can Individuality be Described and Explained? -- Verbal Rhythm and Musical Rhythm -- Trial and Error on Hammered Dulcimers : Iranian and Indian Santūr -- Perceiving and Understanding Through the Fingers : Toward a Comparative Study of Instrumental Somatic Sensibilities -- The Santūr's New Physicality : Toward a Geopolitics on the Board of the Instrument -- What We Learn from the Radīf.Improvisation is a defining characteristic of traditional Iranian music. Iranian musicians describe their music as ' impossible to play in the same way twice' or ' able to be performed in many ways, ' emphasizing that they do not perform prepared compositions.What exactly do musicians play and how do they play it? How does the musician's individuality and originality come into play? What norms are acquired during the learning process that make improvisation possible? What is the concept of "improvisation" in Iranian culture? The author, a researcher as well as a santur player, explores these various points based on field studies and personal experiences from studying and playing traditional Iranian music over many years. This auto-ethnography is an attempt to academically elucidate the senses, physicality, and mentality of musicians by engaging with the subject through first-hand participation.MusicIranHistory and criticismMusicIranAnalysis, appreciationMusicPerformanceIranImprovisation (Music)DastgāhMusicHistory and criticism.MusicAnalysis, appreciation.MusicPerformanceImprovisation (Music)Dastgāh.780.955Tani Masato1848219MiAaPQMiAaPQMiAaPQBOOK9911026136803321Traditional Iranian Music4434543UNINA