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موضوع: hormoz farhat

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    پیش فرض hormoz farhat


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    Name: Hormoz Farhat
    Nationality: Persian/American
    Profession: Composer, Ethnomusicologist, Music Professor


    Education:
    B. A. in Music, University of California, Los Angeles, 1953
    M. A. in Musical Composition, Mills College, 1955
    Ph. D. in Ethnomusicology & Composition, University of California, Los Angeles, 1965

    Professional Career :
    Assistant Professor of Music, California State University, Long Beach, 1961-64
    Associate Professor of Music, University of California, Los Angeles, 1964-69
    Professor and Head of Music Department, University of Tehran, 1970-76
    Head, Music Council, National Iranian Radio and Television Network 1969-78
    Visiting Professor of Music, Harvard University, 1972 & 1973
    Vice-Chancellor, Farabi University, Tehran, 1976-77
    Visiting Professor of Music, The Queen's University of Belfast, 1978-81
    Professor and Head, School of Music, University of Dublin, 1981-95
    Emeritus Professor of Music, University of Dublin, 1995- present
    Overall External Examiner, Royal Irish academy of Music, 2001- present
    Guest Lecturer at various institutions throughout the world including universities of Michigan, Illinois, Indiana; Princeton, Stanford, Berkeley, Glasgow, Edinburgh, Durham, Amsterdam, Koln, Warsaw, Ljubljana, Copenhagen, Stockholm.
    Compositions :
    For Orchestra:
    Sinfonia Concertante for Seven Solo Instruments, Soprano and Orchestra, 1954.
    Mazandarani, a Rhapsody for Orchestra, 1958.
    Theme and Variations, 1962.
    Prelude and Fugue for String Orchestra, 1968.
    Sinfonietta, 1970.
    Three Songs of Sa'di for Soprano and Orchestra, 1972.
    Fantasy and Fugue for String Orchestra, 1974.
    Rhetorics for Piano and string Orchestra, 1977.
    Flute Concerto, 1977.
    Clarinet Concerto, 1978.
    Sougue, an Elegy for Orchestra, 1981.
    Chamber Music:
    6 String Quartets (1953, 1962, 1967, 1979, 1981, 1993).
    3 Wind Trios (1960, 1961, 1978).
    Duo for Violin and Viola, 1963.
    Divertimento for Saxophone Quartet, 1966.
    Four Inter-related Pieces for Soprano Recorder and Piano, 1980.
    Piano Quintet, 1980.
    Partita for Wind Quintet, 1981.
    For Piano:
    Theme and Variations, 1951.
    Persian Suite, (4 pieces) 1952.
    Sonata, 1956
    DeBeneville Pines, Suite of 5 Pieces, 1962.
    Suite Gallante, (5 pieces) 1963.
    Four Concert Etudes, 1963.
    Summer Suite, 1979.
    Three Persian Miniatures, 1984.
    Sonatina, 1998.
    24 Essays, 1998-9
    Vocal Music:
    Two Songs on Poems by Sa'di for Soprano, Violin and harp, 1957.
    Be Yad-e Neyshapur, a Chain of Seven Songs on Rubaiyat of Omar Khayyam, 1959.
    Three Persian Songs for Soprano, Flute, Cello and Piano, 1962.
    Several pieces for a-cappella choir.
    Motion Picture Scores:
    Music for 3 short and 6 feature films produced in Persia.
    Two of the feature films have received international acclaim and have been shown at various European and American film festivals.
    Performances:
    Works performed in the U. S., Germany, Romania, Poland, Bulgaria, England, Austria, Ireland, and in Persia. Performances by Tehran Symphony, English Chamber Orchestra, NIRT, National Sym. Orch. Of Ireland, Shiraz Festival, etc.
    Publications :

    Books:
    Divertimento for Saxophone Quartet. Leblanc Music Publishers, Chicago, 1966.
    The Traditional Art Music of Iran. Ministry of Culture and arts press, Tehran, 1973.
    Counterpoint. University of Tehran Press, Tehran, 1974.
    The Dastgah Concept in Persian Music. Cambridge; Cambridge University Press, 1990.
    Dastgah dar Musiqi-ye Irani, (a translation by Mehdi PurMohammad of The Dastgah Concept in Persian Music), Part press, Tehran 2002.
    Selected Articles:
    „An Introduction to Persian Music”, (in English and Persian), Shiraz Festival Publication, 1970.
    „A New Look at the Theory of Persian Modes” (in Persian), Farhang-o Zendegi, Tehran, Sept. 1971.
    „Iranian Dastgah”, (a Review in English), Ethnomusicology. Sept. 1973.
    „Persian Music”, (in English), Catalogue of the Festival of Oriental Music, University of Durham, England, 1976.
    „Old and New Values in Changing Cultural Patterns”, Iran: Past. Present and Future. Aspen Institute, 1976.
    64 articles in the Persian encyclopaedia, Daerattomaaref -e Farsi. Tehran, 1976.
    The article on Iran in the New Grove Dictionary of Music and Musicians, MacMillan, London, 1980.
    „Scales and Intervals: Theory and Practice”, Irish Musical Studies, G. Gillen and H. White, (eds.), Irish Academic Press, Dublin 1990.
    Contributor to the Encyclopaedia Iranica, E. Yarshater, ed.
    „Western Influences on Persian Music”, Muzikolski Zbornik (Musicological Annual) XVII, Ljubljana, 1991.
    „The Evolution of Style and Content in Performance Practices of Persian Traditional Music”, Muzikoloski Zbornik (Musicological Annual) XXXIII, Ljubljana, 1997.
    „Music”, a critical review of all articles on music in Encyclopaedia Iranica, Iranian Studies, 1998.
    7 articles in the second edition of the New Grove Dictionary of Music and Musicians, MacMillan, London, 2001.
    artistswithoutfrontiers

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  3. #2
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    کاربر حرفه ای
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    May 2007
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    پیش فرض


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    The Dastgah Concept in Persian Music
    Series: [ میهمان گرامی برای مشاهده لینک ها نیاز به ثبت نام دارید]

    Hormoz Farhat

    The tradition of Persian art music embodies twelve modal systems, known as dastgahs. Each dastgah represents a complex of skeletal melodic models on the basis of which a performer produces extemporised pieces. The dastgahs revolve around unspecified central nuclear melodies which the individual musician comes to know through experience and absorption. It is a personal and elusive tradition of great subtlety and depth. Through extensive research, including interviews with leading musicians and recording over one hundred hours of music, Hormoz Farhat has unravelled the art of the dastgah. In his study Professor Farhat analyses the intervallic structure, melodic patterns, modulations, and improvisations within each dastgah, and examines the composed pieces which have become a part of the classical repertoire in recent times.

    [ میهمان گرامی برای مشاهده لینک ها نیاز به ثبت نام دارید]




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