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Iran's western-influenced pop music emerged by the 1950s. [4] Prior to the 1950s, Iran's music industry was dominated by traditional singers. [4] Viguen, known as the "Sultan" of Iranian pop and jazz music, was a pioneer of this revolution. [4] [3] [5] [2] He was one of Iran's first musicians to perform with a guitar. [4]
The modal concepts in Iranian folk music are linked to those of the country's classical music. Many of Iran's folk songs have the potential of being adapted into major or minor tonalities, [7] and Iranian singers of both classical and folk music may improvise the lyric and the melody within the appropriate musical mode. [8]
"Soroode Zan" (Persian: سرود زن, lit. 'Woman's Anthem') is a feminist anthem by Iranian singer and composer Mehdi Yarrahi.Composed by Yarrahi and written by Mona Borzouei, it is a protest song with musical composition of anthem style, released eighteen days after the Death of Mahsa Amini —which sparked a massive global protests all around the world— inspired by her death and its ...
Ali Reza Eftekhari (Persian: علیرضا افتخاری; born March 30, 1958) is an Iranian vocalist of Iranian classical and popular music. He is one of the most popular singers in Iran and his works are among the best-selling works of Iranian music.
Mara Beboos (Persian: مرا ببوس which means kiss me) is a musical composition with poetry by "Heydar Raqabi" and music by "Majid Vafadar".Initially performed by a Qashqai singer named "Batool Rezaei" with the stage name "Parvaneh" using the artistic name, but it gained fame and longevity through the rendition by "Hassan Golnaraghi," a renowned and enduring performer.
"Man Aamadeh Am" (Persian: من آمده ام, lit. 'I have come to you') is a Persian song, sung by Iranian singer Googoosh for the album Pol in 1975. The song was written by Googoosh's Afghan friend Jalil Zaland and gifted to Googoosh after she visited Afghanistan.
As crowds poured through the streets of Iran last month to demonstrate against the government, an up-and-coming 25-year-old singer named Shervin Hajipour began working on a new song.
A "row" in the theory of Iranian music, is the arrangement of songs and melodies. Each of these songs, called a corner. Instrument. "Instrument" in traditional Iranian music, refers to a collection of several melodies (corners) that are in harmony with each other in steps, tunes, and intervals of notes. Song. "Song", here is: A special kind of ...