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Farzad Amoozegar-Fassie

Bio: Farzad Amoozegar-Fassie is an academic researcher. The author has contributed to research in topics: Persian & Prosody. The author has an hindex of 1, co-authored 1 publications receiving 6 citations.
Topics: Persian, Prosody, Classical music, Poetics

Papers
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DOI
01 Jan 2010
TL;DR: In this article, the authors present a Table of Table of contents of a table of tables: https://www.tableoffeatures.com/table-of-features/table.
Abstract: ............................................................................................................................ ii Table of

6 citations


Cited by
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Book Chapter
01 Jan 1996
TL;DR: In this article, Jacobi describes the production of space poetry in the form of a poetry collection, called Imagine, Space Poetry, Copenhagen, 1996, unpaginated and unedited.
Abstract: ‘The Production of Space’, in: Frans Jacobi, Imagine, Space Poetry, Copenhagen, 1996, unpaginated.

7,238 citations

Journal ArticleDOI
01 Jan 1988
TL;DR: For the Sufis of India and Pakistan, the Qawwali songs are 'food for the soul', a means of attaining union with God, the ecstatic culmination of mystical experience.
Abstract: For the Sufis of India and Pakistan, the Qawwali songs are 'food for the soul', a means of attaining union with God, the ecstatic culmination of mystical experience. Regula Burckhardt Qureshi's study carefully describes and documents the performance of this music in the traditional Sufi assembly, the ritual of sama', first presenting the rich musical repertoire of Qawwali song, and then exploring everything else that is relevant to an understanding of the ritual: the profound belief system and its powerful articulation through mystical poetry in three languages (Farsi, Hindi, Urdu), the social and economic relationships between Sufi listeners and musicians, and, finally, all the specific rules governing the making of and listening to Qawwali in the Sufi assembly. All this leads up to a momentby-moment account of actual Qawwali performances where the interplay between the musical sound and the diverse and often dramatic audience responses is described and analysed by the author.

14 citations

Dissertation
01 May 2017
TL;DR: In this paper, the authors explore the benefits of exploring music from diverse vocal cultures to expand and enrich artistic practice and highlight the need for further investigation into non-Western musical cultures by other CCM practitioners.
Abstract: This research explores diverse vocal styles from three distinct musical cultures: Irish traditional, Flamenco, and Persian Classical; and how they can enrich and extend the composition and performance of contemporary commercial music (CCM). Although fusion music exists in CCM, there is little research into the benefits that non-Western styles can provide for CCM vocalists, musicians and composers. This has left a gap in literary resources which may benefit the artistic practice of CCM artists. This research explores my own investigation into learning Irish traditional, Flamenco and Persian Classical vocal styles, and how I implemented them in my own performances and compositions. Qualitative research was employed through one-on-one vocal tuition, interviews, and workshops with professionals in each chosen style. Research also included listening to music from each style, attending concerts, and analysing case studies of successful cross-cultural musics within CCM. Furthermore, the historical, cultural and musical components of Irish traditional, Flamenco, and Persian Classical music were investigated to inform me of the key areas that needed to be implemented within my own performances and compositions in each style. As a singer-songwriter, my exploration of these musics is demonstrated in a seven-track album, each song implementing the musical characteristics of at least one chosen style. My own exploration demonstrates the benefits of exploring music from diverse vocal cultures to expand and enrich artistic practice. It also highlights the need for further investigation into non-Western musical cultures by other CCM practitioners (vocalists, musicians, composers and teachers). Ultimately, this dissertation can contribute to the field of CCM and may inspire further investigation of non-Western styles by other CCM scholars, teachers and artists.

5 citations