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| "music", referring to secular, composed, metric, instrumental, and ensemble musich |
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| "to recite," referring to sacred, improvised, non-metric, vocal, and solo performance |
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| "mode," [Iran] There are 12 modes, each with their own name, scale of pitches, and short identifying melodic motif. |
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"row"
Collection of 250-300 pieces, each one up to 4 min in length, that a student of Persian classical music memorizes and uses as a basis for improvisation.
Several master musicians formed their own version that they passed on to students through oral transmission. |
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| Short melodic "piece" in a particular dastgah. Each mode has approximately 20-30 gushehs devoted to it. |
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| Sobbing kind of vocal embellishment in Persian classical music |
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Literally "string."
Long-necked, fretted lute with waisted wooden body |
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| Small long-necked, plucked lute |
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| Four-stringed spiked fiddle played with a horsehair bow |
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| Trapezoidal hammered dulcimer played with two wooden hammers |
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| End-blown cane flute held obliquely |
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| Frame drum with jingles on the inside of the frame |
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| First section of music - slow, composed, metric, played in unison |
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Introduction. Played after Pishdaramad.
Non-metric, demonstrates characteristics of the mode. |
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"Four hammers"
Fast, rhythmic, instrumental piece |
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Central section of the performance
Improvised, non-metric, may be performed vocally or instrumentally |
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| Final section of music - rhythmic dance song |
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| Composed metric song accompanied by instuments |
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| Primarily young, urban, educated, relatively affluent, modern, and secular in outlook |
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| [1998] Since relaxation of gov't restriction on popular music. Practice in Basements, may include Western and Iranian instruments, and male and female musicians. |
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| A permit required to any live music performance or commercial recording in Iran, granted by the gov't. Assessment process scrutinizes lyrics, music, and metting Islamic "standards" |
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| Term implying oppositional stance to the Iranian gov't. Led to the preferred label,"alternative" rock. "Underground" informally describes "non-authorized" bands. |
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| Underground Music Competition |
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| First Iranian online rock music festival in 2002 |
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Expresses the internationalist stance of Iranian rock by singing most songs in English, and commenting on Iran vis-a-vis the outside world.
"My Sweet Little Terrorist" song |
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"hearing" and "the music is heard"
Sufi ceremonies that involve prayer, song, dance, and other rituals |
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Holy book of Islam. Believed by Muslims to contain the revelations of God (Allah) to the Prophet Muhammad through angel Gabriel.
Contains to mention of "music." |
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| A Muslim who knows and recites the entire Qur'an from memory. |
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Traditions of the Prophet.
Sayings of or anecdotes about Muhammad, written down after his life and considered an authoritative source for Islamic law. |
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Call to Prayer
Recited 5 times a day in Islamic countries to announce the official prayer times. Consists of a sequence of short phrases. |
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"Remembrance"
Islamic ritual to remember Allah, including the repetition of the names of Allah, and for Sufis often music and dance |
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Islamic mysticism
Seeking awareness of ultimate reality and truth through divine love and mystical union with God |
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| Sufi order founded in the 13th century Turkey by followers of Jalal un-din Rumi. Known in the West as "The Whirling Dervishes" for their turning rituals. |
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"Threshold of the door"
Member of a Sufi order, who seeks a greater awareness of life. |
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"One who is in love"
Professional minstrel who sings love songs and epic poetry. Accompanies himself on the saz, performing in coffeehouses and concert halls, at weddings, and for radio and television.
Similar to baxshi and zhirau in Uzbekistan. |
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| They acquire poetic and musical skills in a dream, but the learning process nevertheless involves listening, memorizing, and imitating master singers. |
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| Long-necked fretted lute played with a plectrum |
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| Double reed aerophone played to accompany the asiq in East Azerbaijan |
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| Long epic poem in Turkey and Central Asia, recounting heroic, historical, or love stories. Performances combine spoken narration with sung melodies, and may take many days |
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Asiq performance tradition, originally competitive, now for entertainment. Two asiks improvise verses, the 2nd following the exact same meter and rhyme scheme of the first.
Song topics range widely from love and nature to politics and history, often including insults. |
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Classical song genre devoted to expression of spiritual poetry, Singers perform with a straightforward, open vocal style, and reach a high-pitched awj (culminating pt.) that sustains vocal and spiritual tension.
[Uzbekistan] |
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High-pitched culminating point in singing a melody
[Uzbekistan] |
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Performer of oral epic poetry (dastan) in Khiva.
Differs from asiq in repertoire and style. Accompanied by an ensemble of stringed instruments and frame drum
[Uzbekistan] |
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Performer of oral epic and lyric poetry in Karakalpakstan, accompanying himself on the qobyz (two-stringed fiddle)
[Uzbekistan] |
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Two-stringed fiddle played by the zhirau to accompany epic singing
[Uzbekistan] |
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Female entertainer who sings at weddings and other women's ceremonies in Khiva, usually in groups of 2 to 4 including a dancer.
[Uzbekistan] |
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"Throat singing"
Singer simultaneously produces two distinct tones, a low fundamental pitch and a series of much higher harmonics.
[Tuva] |
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| Series of musical tones (overtones), whose frequencies are multiples of the frequency of the fundamental tone. Harmonics are present in any acoustically produced tone but are not normally heard by the human ear, which hears only the fundamental pitch. |
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Two-stringed, horse-head fiddle
[Tuva] |
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