LEADER 01432nam 2200373Ia 450 001 996384710403316 005 20221107143002.0 035 $a(CKB)4940000000073231 035 $a(EEBO)2248502785 035 $a(OCoLC)11466652 035 $a(EXLCZ)994940000000073231 100 $a19841207d1700 uy | 101 0 $aeng 135 $aurbn||||a|bb| 200 00$aAesop's fables$b[electronic resource] $eEnglish and Latin : every one whereof is divided into its distinct periods, marked with figures : so that little children being used to write and translate them may not only more exactly understand all the rules of grammar but also learn to imitate the right composition of words and the proper forms of speech belonging to both languages /$fby Charles Hoole 210 $aLondon $cPrinted by R.E. for the Company of Stationers$d1700 215 $a[6], 263 [i.e. 262] p 300 $aEnglish and Latin on facing pages. 300 $aIncludes index. 300 $aImperfect: pages cropped and tightly bound with loss of print. 300 $aReproduction of original in the British Library. 330 $aeebo-0018 701 $aHoole$b Charles$f1610-1667.$0793350 701 $aAesop$0859552 801 0$bEAK 801 1$bEAK 801 2$bUMI 801 2$bm/c 801 2$bUMI 801 2$bWaOLN 906 $aBOOK 912 $a996384710403316 996 $aAesop's fables$92311613 997 $aUNISA LEADER 03288nam 22005893 450 001 9911026136803321 005 20251022004645.0 010 $a9781920850364 010 $a1920850368 035 $a(MiAaPQ)EBC31747484 035 $a(Au-PeEL)EBL31747484 035 $a(CKB)36479409600041 035 $a(MiAaPQ)EBC31888773 035 $a(Au-PeEL)EBL31888773 035 $a(Perlego)4620708 035 $a(OCoLC)1492946518 035 $a(OCoLC)1467877203 035 $a(EXLCZ)9936479409600041 100 $a20241104d2024 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aTraditional Iranian Music $eOrality, Physicality and Improvisation 205 $a1st ed. 210 1$aPortland :$cTrans Pacific Press,$d2024. 210 4$dİ2024. 215 $a1 online resource (193 pages) 311 08$a9781920850340 311 08$a1920850341 327 $aWhat is radi?f : 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 Gu?shes -- 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 Santu?r -- Perceiving and Understanding Through the Fingers : Toward a Comparative Study of Instrumental Somatic Sensibilities -- The Santu?r's New Physicality : Toward a Geopolitics on the Board of the Instrument -- What We Learn from the Radi?f. 330 8 $aImprovisation 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. 606 $aMusic$zIran$xHistory and criticism 606 $aMusic$zIran$xAnalysis, appreciation 606 $aMusic$xPerformance$zIran 606 $aImprovisation (Music) 606 $aDastga?h 615 0$aMusic$xHistory and criticism. 615 0$aMusic$xAnalysis, appreciation. 615 0$aMusic$xPerformance 615 0$aImprovisation (Music) 615 0$aDastga?h. 676 $a780.955 700 $aTani$b Masato$01848219 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9911026136803321 996 $aTraditional Iranian Music$94434543 997 $aUNINA