Performing the belief : sacred musical practice of the Kurdish Ahl-i Haqq of Gūrān /

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Thesis (Ph.D. in Music)--University of California, Berkeley, Fall 2004. Includes bibliographical references (leaves 371-384).

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... For instance, the large tambourine (daf), 419 is considered to refer to the cycle of all created beings (dā'ra akwān)"; 420 the reed-flute (nay) 421 is associated with the Mevlevi ritual, 422 and the tanbur is a musical instrument played in the sacred music repertoire of the Kurdish Ahl-i Haqq. 423 The interpretation of "cycle of created beings" is given to in the practice of qasīda-khonī in which the daf as a circular drum, is believed to symbolize the universe and the rubob as the soul entering the universe, i.e. when the soul comes into being. 424 The Pamirī rubob, with its distinctive features, plays an essential role in the religious life of the Pamirī Ismailī Muslims. ...
Diese Dissertation fokussiert auf die Musik- und Aufführungspraxis qasīda-khonī in der Autonomen Provinz Berg-Badachschan (GBAO). Untersucht wird dabei insbesondere der Stellenwert der Musik für die in dieser Region beheimateten Pamirī Ismaili Muslime, ihre historische Einbettung in soziale und kulturelle Kontexte sowie die Rolle von qasīda-khonī bei der Schaffung einer distinktiven geo-kulturellen Identität. Die GBAO, situiert im Hochgebirge Tajikistans, ist durch geographische, linguistische, ethnische, religiös-spirituelle und vor allem auch musikalische Besonderheiten geprägt. Die Musik der GBAO vereint vielfältige Stile und Genres und umfasst insbesondere die Aufführung religiöser Lieder zu verschiedenen ritualisierten Anlässen. Qasīda-khonī wird bei nächtlichen Totenwachen, Versammlungen am Donnerstagabend und nach dem Freitagsgebet gespielt und zur traditionellen Neujahrsfeier an Nawruz, im Ramadan und zu anderen religiösen Festen aufgeführt. Die Bevölkerung Badachschans gehört mehrheitlich der islamisch-schiitischen Gemeinschaft der Ismaeliten an, deren religiös-spirituellen Traditionen somit einen großen kulturellen Einfluss auf die Kultur des Pamir ausüben. Diese Dissertation untersucht die historischen, sprachlichen, geographischen und religiösen Faktoren, die qasīda-khonī als kulturelle und musikalische Praxis Zentralasiens prägten und verdeutlicht die soziale Funktion musikalischer Aufführungspraktiken. Qasīda-khonī, als zentrales Phänomen religiöser Praktiken und kulturellen Ausdrucks, ist somit auch ein Indikator für die besondere Beziehung von Aufführung und Identität.
... The dynamics and sensitivities surrounding the relationship of music and faith becomes apparent, for example, in the advice and efforts of Pir Seyid Nasreddin Haydari, a living saint of the Ahl-i Haqq, about the construction of the sacred tanbur and against its use as a meta. 56 Likewise, the letter of permission allowing Ali Akbar Moradi to release a four-CD album of sacred cem repertoire for the first time in history 57 as well as Seyid Nasreddin Haydari's recent announcement prohibiting unauthorised release of the sacred kelams in book or other formats 58 bear witness of these dynamics of music and faith. This further poses the question of how to approach both the musical and religious legacy of a community that believes in the common values of Ali and Hacı Bektaş Veli in particular; a legacy that we have thus far studied as 'music' , but which its practitioners see and hold as a holy relic in the context of Alevism. ...
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Researchers have used the term ‘Alevi music’ in definitions and general evaluations of the music performed within Alevi communities over a vast region extending from the Balkans to the Middle East. However, what defines the specific ‘Alevi’ character of performances, musemes, texts or instruments used, oftentimes remains unclear or caught up in essentialist approaches to the field of study. In this paper, therefore, the question of what ‘Alevi music’ is, is replaced by a discussion of how the concept is addressed and discoursively constructed. Discussing possibilities and constraints of determining the character of the very attribute ‘Alevi’, for example, in compounds such as ‘Alevi music’, it attempts to develop a methodological framework for further musicological inquiries in the field of Alevi studies.
... Recent studies in organology broaden the scope of the field, often emphasising the cultural context of musical instruments (Dawe, 2001;Qureshi, 2000); lived organology based on stories, historical meanings and relationship with the sacred (Hooshmandrad, 2004); or the 'social life' of musical instruments (Bates, 2012). Bates applies actor-network theory in analysing how instruments are more than simple objects applied in music making, but actually serve as complex actor-networks of meaning, history, and agency. ...
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Gaining a comprehensive understanding and overview of new musical technologies is fraught with difficulties. They are made of digital materials of such diverse origins and nature, that they do not fit comfortably into traditional organological classifications. This article traces the history of musical instrument classifications relevant to the understanding of new digital instruments, and proposes an alternative method to the centuries-old tree-structure of downwards divisions. The proposed musical organics is a multidimensional, heterarchical, and organic approach to the analysis and classification of both traditional and new musical instruments that suits the rhizomatic nature of their material design and technical origins. Outlines of a hypothetical organological informatics retrieval system are also presented.
The kemençe instrument is a crucial part of daily life in the Eastern Black Sea region’s culture. Besides the performance of the kemençe, other instruments, dances, and the ideological discourses associated with the instrument show us how local people interact with the landscape of the Eastern Black Sea region. This study examines the space of kemençe by considering its complex cultural relations in and around the province of Trabzon. We use the concept of organonscape to analyse the space of the kemençe through considering the geography and spatial features of the instrument. This concept shows that instruments are important determinants of performance and are created to mark a fluid space in relation to landscape. As a result, the organonscape of the kemençe contains musical practices and shapes the ideological construction of landscapes as spaces where the kemençe is performed.
The article is an attempt to answer the question why Wednesday has the status of a holy day in Yezidism. Wednesday can be seen as a commemoration of the fourth day of creation, when the life on earth began and the Peacock Angel became its ruler. The article points to the Yezidi worship of the Moon and the Sun and related angels (Melek Fakhradin and Melek Sheikh Shams) and connects it with the Pythagorean concept concerning the movement of the planets and the Music of the Spheres. Two sacred Yezidi instruments, def and shibab, appear as allegories of celestial bodies in the Yezidi sacred hymns in the cosmogonic context of the creation of the macrocosm and microcosm (Adam). The article also points out the meaning of Wednesday in Judaism as the day when God created the sun, moon and stars and briefly discusses relationships with planet worship in Harran, Zoroastrianism and Mandaeism, especially in the context of the Yezidi Çarşemiya Sor festival which takes place on the first Wednesday of the month of Nisan.
It is a known fact that every culture has the responsibility of describing reality, its origin and models of structural development as well as the hidden knowledge and truth about being. This responsibility is evidently illustrated, addressed or depicted in Igbo paradigm in form of symbols. Devoid of these symbols, signs and images, the traditional life experiences of the Igbo’s will completely be void, abstract and meaningless because some of these symbols represented in tangible visible forms were believed to be real and living. This paper focuses towards understanding Aso-ebi cloth in the Igbo context through the examination of the dynamics of the cloth production, patronage, consumption and social significance of dress projecting high social solidarity and powerful cohesion in traditional Igbo paradigm. The proper underpinning of this social psychology of Aso-ebi cloth on the indigenous people of the Igbo’s will go a long way in the full integration of the Igbo people’s life and their immediate cultural ecology with messages it disseminate. It must be noted also that despite the significance of this integration, it must be informed that such is evidently limited in their transmission of reality. This paper investigates how the Aso-ebi clothe although an imported culture from the Yoruba tradition basically play significant roles in mediating and facilitating religious communication in Igbo Traditional Religion, giving rise to thought, interpretation, and symbolic meanings. In Igbo cosmology and leadership, the Aso-ebi fabrics encapsulate so many things which are very distinctive thereby representing so many things and ideologies.
This study addresses the gap in the contemporary scholarship on Kurdish oral and performative culture by, for the first time, presenting a review of some of the performance traditions in Kurdistan. By describing these traditions, the article demonstrates that performance has for centuries comprised a vital and meaningful element of Kurdish cultural life. Further, it shows that a more inclusive approach to writing theatre histories enhances understanding of Middle Eastern and, in particular, Iranian performance culture—for the Kurds, as an Iranian people and the fourth largest ethnic group in the Middle East, play an intrinsic part in the culture of the region. All combined, this comprehension fosters a deeper appreciation and fuller picture of Middle Eastern theatre, in general, and Iranian theatre, in particular.
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