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Mehrdad Fallahzadeh

Bio: Mehrdad Fallahzadeh is an academic researcher. The author has contributed to research in topics: Music theory & Persian literature. The author has an hindex of 1, co-authored 1 publications receiving 8 citations.

Papers
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30 Aug 2005
TL;DR: In this article, the authors attempt to understand and map the development of Persian writings on music, focusing on their various approaches and variations of topics from the beginning of the 11th century to the end of the 15th century which can be called the classical period of Persian writing on music.
Abstract: This dissertation is an attempt to understand and map the development of Persian writings on music, focusing on their various approaches and variations of topics from the beginning of the 11th century to the end of the 15th century which can be called the classical period of Persian writing on music The rise of Persian musical literature as a part of Persian learned literature was a result of the political and cultural decentralization of the Abbasid Caliphate Like most other genres of learned literature in Persian, translation and abridgements of and commentaries (sarhs) on Arabic works played a crucial role in the rise and es-tablishment of Persian musical literatureThe most important conclusions to be drawn from the present study are that we can distinguish between two main approaches in Persian writings on music, viz the religious and non-religious approaches, and that there is a pattern in the development of Persian writings on music which provides us with a periodization of the develop-ment of this literary genre According to the macro periodization of Persian writings on music which is presented in this study, we can identify five different stages in the development of the genre; 1) the initial period: ca 1000-1110; the first intermezzo: ca 1110 up to 1175; 3) the period of establishment: ca 1175-1299; 4) the first Golden Age of the genre: ca 1300-1435; 5) the second intermezzo: ca 1435-1500

8 citations


Cited by
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01 Jan 2014
TL;DR: In this paper, the authors examine the image of the ancient Iranian prophet Zoroaster in the Shāhnāme based on a closed reading of the story about the Kaynian king Goshtāsp written by Daqiqi (and continued by Ferdowsi).
Abstract: This paper aims to examine the image of the ancient Iranian prophet Zoroaster in the Shāhnāme based on a closed reading of the story about the Kayānian king Goshtāsp written by Daqiqi (and continued by Ferdowsi). For this purpose it will discuss the thematic properties of the Dāstān-e Goshtāsp (Tale of Goshtāsp) in the light of Iranian historical and epic traditions. Given the religious subject matter of the advent of Zoroaster, my aim is also to explore whether Daqiqi’s account primarily has a religious orientation or is the manifestation of a more secular orientation which represents the taste of kings and nobles with an emphasis on heroic events. The question of the Zoroastrian orientation of Daqiqi’s narrative is especially interesting given that the Shāhnāme was commissioned by an Iranian Muslim monarch and primarily addressed an audience of Persian-speaking Muslims albeit conscious of their national heritage. Of specific interest in my presentation is Daqiqi’s handling of the Sistānian heroic tradition and its hostility to Zoroaster’s patron, and whether there are any important ideological differences between Daqiqi and Ferdowsi in this respect.

14 citations

17 Jan 2014
TL;DR: In this article, the authors try to look at universal aspects of music, especially as outlined by Tagg, and engaging into articulation on how music can universally be pleasurab...
Abstract: This theoretical paper is an attempt of trying to look at universal aspects of music, especially as outlined by Philip Tagg, and engaging into articulation on how music can universally be pleasurab ...

9 citations

01 Jan 2016
TL;DR: In this article, the focus of a study is on the short story, read from the viewpoint of literary history, and the political course of events in Kurdistan, and political and social circumstances which fol...
Abstract: The focus of this study is on the Kurdish short story, read from the viewpoint of literary history. The political course of events in Kurdistan, and the political and social circumstances which fol ...

7 citations

Journal ArticleDOI
06 Aug 2018
TL;DR: In this article, the authors proposed a new model for the Turkish modernlesmesi teorisi model, which is based on the same model as the one described in this paper.
Abstract: Bu makalede, Turkiye’de yasanan Batililasma surecinde, geleneksel makam teorisini modernlestirmek isteyenlerce yapilan donusturucu mudahaleler, soylem analizi temelinde ve elestirel baglamda tartisilmaktadir. Makam, Turk muziginin oldugu kadar Dogu muziginin de en temel kavramlari arasinda yer alir. Meseleyi kavramsal cercevede dogru bir sekilde incelemek maksadiyla burada, dayandiklari muzik unsurlari acisindan iki temel muzik teorisi yaklasimi ayirt edilmistir: (i.) dizi-merkezli ve (ii.) melodi-merkezli. Bunlardan ilki, tipik olarak Bati armonik tonalitesine ozgu kavrayisi temsil ederken, ikincisi de Batililasma donemi oncesindeki geleneksel Turk makam kavrayisini simgeler. Bu donem uc baslik altinda ele alinmistir: (i.) ‘modernles(tir)meden onceki geleneksel Turk makam kavrayisi, (ii.) modernles(tir)me evresindeki donusturucu mudahaleler, (iii.) son donemlerdeki yeni ve elestirel yaklasimlar. Makam teorisi, Turkiye tarihinde bir zamanlar geleneksel bir mirasi iletmek amaciyla kullanildigindan, kendi kulturel cercevesi icinde, kendine ozgu bir uygulama ve egitim tarzina sahipti. Modernlesmeden once makamlari aciklamak icin matematik, felsefe veya kompozisyona dayali uc farkli teorik modelin kullanildigi belirlenmistir. 19. yuzyilda, Turk modernlesmesi, ‘Bati’ya benzeme’ arzusunun tezahur etmeye basladigi bir asamaya ulasti. Bu yuzyilin sonlarindan baslayarak, makam kavrayisi da bazi donusturucu mudahalelere maruz kaldi. Once, Bati muzik teorisine ozgu dizi ve tonalite gibi kavramlarla mukayese edildi. Bu asamada, armonik tonaliteye ozgu dizi-merkezli teori, makam icin insa edilmek istenen ‘yeni/modern’ teori icin tam ve mukemmel bir model olarak goruldu. Yekta, Ezgi ve Arel gibi onde gelen modernlestiriciler, geleneksel makam perdelerini, armonik islevlere sahip Avrupa tonal dizileri olarak yorumlamakta herhangi bir mahsur gormediler. Dahasi, bu donusturucu mudahaleleri, makam teorisini modernlestirmek adina zorunlu bir ilerleme olarak da kabul ettiler. Ozellikle Arel tarafindan ortaya konulan model, uzun yillar boyunca, yerli veya yabanci arastirmaci, egitimci ve muzisyenler tarafindan, Turk muziginin yegâne modern teorisi olarak kabul gormus ve kullanilmistir. Ancak, gercek muzik icralariyla devamli surette celisen bu teorinin kusurlu ve eksik yonleri, onun ‘kriz’ icine girmesine ve en azindan son elli yildir, cok yonlu elestirilere tabi tutulmasina neden olmustur. Konuya dair yeni tartismalardaki baslica gorusler ortaya konulmak suretiyle burada, makam kavraminin, ozellikle Osmanli dunyasindaki tarihsel seyri de goz onunde bulundurularak, melodi-merkezli bir yaklasimla anlasilmasi gerektigi acikca ortaya cikmistir. Sonucta, Osmanli dunyasinda 15. yuzyildan itibaren gelistirilen melodik harekete dayali makam teorisine, eski itibar ve gecerliliginin iade edilmesi ve bu adimin, yeni teorik calismalar icin baslangic alinmasi gerektigi one surulmustur.

7 citations

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