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Much of the Western music introduced to Iran (and subsequently neighboring Middle Eastern countries) after World War II by the modernization policies of Shah Mohammad Reza Pahlavi was met with censorship similar to that what had occurred in the Soviet Union decades before. Jazz became popular contraband after the 1979 Revolution.
The first mainstream jazz elements were incorporated into Arabic music by the Rahbani brothers. Fairuz's later work was almost exclusively made up of jazz songs, composed by her son Ziad Rahbani. Ziad Rahbani also pioneered today's oriental jazz movement, to which singers including Rima Khcheich, Salma El Mosfi, and (on occasion) Latifa adhere
Mary Lou Williams was a pioneering jazz pianist and composer who created jazz masses in the 1950s, including tributes to Martin Luther King Jr., and is considered foundational to sacred jazz. As noted above, jazz has incorporated from its inception aspects of African-American sacred music including spirituals and hymns.
The various nations of the region include the Arabic-speaking countries of the Middle East, the Iranian traditions of Persia, the Jewish music of Israel and the diaspora, Armenian music. Azeri Music , the varied traditions of Cypriot music , the Turkish music of Turkey , traditional Assyrian music , Coptic ritual music in Egypt as well as other ...
One of the pioneers of jazz music in Iran was Alfred Lazaryan, a little-known singer and dancer whose first recorded song made a hit on the Iranian national radio. [4] However, Lazaryan soon gave up singing. [4] Viguen Derderian, a celebrated pop and jazz artist popularly known simply as "Viguen", began his career in the early 1950s. [3]
Yisrael Borochov works in the genres of world and Middle Eastern music in Israel, imbuing Israeli music with Arabic and Bedouin influences. He also runs the East West House, where some of the country's youngest talents come to play their esoteric ethnic music in the eclectic and mixed Jewish and Arabic environment of Jaffa. [citation needed].
Some urban middle-class African Americans perceived jazz as "devil's music", and believed the improvised rhythms and sounds were promoting promiscuity. [66] Jazz served as a platform for rebellion on multiple fronts. In dance halls, jazz clubs, and speakeasies, women found refuge from societal norms that confined them to conventional roles.
The sound made by this instrument closely imitates the noises made by rain or running water with rich and vibrant tones "like bells". The sound has a special presence; one that feel the music as much as one hears it. [17] Penetrating and warming at the same time, immediately capturing the involvement of the listeners and drawing them into its mood.