Kereshmeh Records -- KCD-111, Whisper

Whisper
Catalog no. Kereshmeh Records KCD-111

Credits:

Tanbur by Ali-Akbar Moradi
Tombak, Daf, Nagada by Pejman Hadadi

Cover Design by Houman Mortazavi

Purchase This Album:

From

From

Overview:

Tanbur Music of Kermanshah
The region of Kermanshahan within the province of Kurdistan has a very distinct and ancient culture. Music is held in high esteem in this territory and the depth and diversity of the music make this region one of the most important within the musicology of Iran. Certain unique qualities of the tanbur music of Kermanshahan, such as those found in the intervals, rhythms, and melodic cycles, lend support to the view that this music bears close resemblance to the ancient music of Iran. Kermanshahan can be divided into three major styles:

1 - Kalams are pieces with enchanting rhythms and are comprised of 72 maqams. The Kalams are seldom performed outside the Jam Khane (the gathering place of mystics and dervishes of Kurdistan). The devotional and cultural aspects of this style have aided in maintaining its integrity.

2 - Majlesi maqams, also referred to as Hoore, are often performed for gatherings.

3 - Majazi maqams are not considered to be as elevated in status as the other two types mentioned. They have more recent historical origins than Kalam and Majlesi.

The two major tanbur playing regions of Kermanshahan are Gooran and Sahne. Tanbur is popular among the Alavian who dwell on the foothills of the Zagros mountains. Morsheds (bards) and other prominent exponents keep this tradition alive.

	Whisper Catalog no. Kereshmeh Records KCD-111 Credits: Tanbur by Ali-Akbar Moradi Tombak, Daf, Nagada by Pejman Hadadi Cover Design by Houman Mortazavi Purchase This Album: From From Overview: Tanbur Music of Kermanshah The region of Kermanshahan within the province of Kurdistan has a very distinct and ancient culture. Music is held in high esteem in this territory and the depth and diversity of the music make this region one of the most important within the musicology of Iran. Certain unique qualities of the tanbur music of Kermanshahan, such as those found in the intervals, rhythms, and melodic cycles, lend support to the view that this music bears close resemblance to the ancient music of Iran. Kermanshahan can be divided into three major styles: 1 - Kalams are pieces with enchanting rhythms and are comprised of 72 maqams. The Kalams are seldom performed outside the Jam Khane (the gathering place of mystics and dervishes of Kurdistan). The devotional and cultural aspects of this style have aided in maintaining its integrity. 2 - Majlesi maqams, also referred to as Hoore, are often performed for gatherings. 3 - Majazi maqams are not considered to be as elevated in status as the other two types mentioned. They have more recent historical origins than Kalam and Majlesi. The two major tanbur playing regions of Kermanshahan are Gooran and Sahne. Tanbur is popular among the Alavian who dwell on the foothills of the Zagros mountains. Morsheds (bards) and other prominent exponents keep this tradition alive.
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