نظام شکارچیان
Nezam Shekarchiyan

[توضیحات کامل می‌شود]

Nezam Shekârchiyân

نظام شکارچیان ۰۲ | Nezam 02

کانون پرورش فکری کودکان و نوجوانان

هرچند همه کارهای منتشر شده کانون مورد قبول ما نبود، اما بهتر آن دیدیم تا از سانسور تاریخ به دور باشیم و هر آنچه در دست داریم ارائه کنیم

فروغ فرخزاد

فروغ فرخزاد ۱


ای روی تو مهر عالم آرای همه

وصل تو شب و روز تمنای همه

گر با دگران به ز منی وای بمن

ور با همه کس همچو منی وای همه

«آشوب»

آلبوم رازنو
آهنگساز: حسین علیزاده
گروه هم‌آوایان

‌RAZ-E NO (THE NOVEL MYSTERY)
HOSSEIN ALIZADEH
HAMÂVÂYÂN ENSEMBLE

Raz–e No (The Novel Mystery)

Raze No (The Novel Mystery)

Raze No/ The Novel Mystery/ Hossein Alizadeh

Emotional Damage
-1
-1
-1
-1
CRIT -128


0/100

BADAKHSHAN
SONGS OF DEVOTION & WISDOM
Recording & Accompanying Notes by
JEAN DURING

The Maddâhs
Madh is a category of devotional songs which involves the praise or evocation of one of the aforementioned five figures (Panjtan). There are several terms derived from the Arabic root mdh:
Maddâh or madh-khân: panegyrist
Maddâhi-khâni or Madh-khâni (commonly shortened to madâh): panegyric. It is also known as qasâ’id-khâni. In Badakhshân, the term maddâh-khâni refers to a social and religious ritual which is held in a house of ordinary appearance, but on certain nights, the house turns into a devotional place known as maddâh-khâna (the house of maddâhs). 
The Badakhshânis speak several Pamiri dialects (Roshâni, Shoghnâni, Wakhi), but their official language is Tajik Persian and their poetry and religious texts are in classic Persian, particularly an oriental style called sabk-e hendi. Music has a significant role in this culture and it is not only considered lawful by the religious people but practiced as well. Equally, poetry is exploited in its diverse forms: ghazal (sonnet), robâ’iât (quatrains) in 6/8, dobeyti in 7/8, mukhammas (quintains), popular poetry in Pamiri, narration (hekâyat, qasida), prayer (do’â), supplication (monâjât), etc.
The significance of poetry is determined not only by the number of published poetry collections or the list of poets, but also by the fact that it is always memorized and sung with musical instruments and that it expresses as much religious sensitivity as human affects.

The Instruments
The rabâb is an instrument specially designed to provide rhythmic and melodic accompaniment to a song and is not often played solo. The whole body of the instrument is carved from a single block of apricot wood and its sound board is made of a piece of thick horse-skin which gives it a characteristic foggy timbre. It has three melodic strings (nowadays of nylon) two of which are doubled, plus an acute one which is played open. 
Just like its melodies, the musical instruments of Badakhshân are specific ones invested with religious symbols. The rabâb is preciously kept within the family and is passed on from one generation to another. It is said that Gabriel the Archangel played the rabâb so that the soul of Adam, intoxicated by its sonority, would be captured in his body. Its five strings remind one of the number of pillars in houses as well as the Holy Five (panjtan). The head of the instrument is shaped like the head of a horse which is suggestive of Doldol, the steed of Imam ‘Ali. One of the basic rhythms provided by the rabâb is known as rapâ in duple time, which is supposed to imitate the pace of the horse. 
The tanbur is a large rabâb, generally in the shape of an “8”, carved from the trunk of a mulberry tree. It is differentiated from the rabâb by its sonority and low-pitched sound as well as its more complex tuning. It is considered more formal and is played solo more often than the rabâb. It has 7 strings (the number of Isma’ili Imams) plus an eighth string which is played open, doubling the sound of the most acute string. 
There is another instrument from the same family, known as the balandzikom, which was first developed in the 19th century. The setâr, the qijak, the recorder and the Afghan rabâb are other commonly used instruments, but not in the genre maddâhi.

Khoshâmadi/ ‌Badakhshan

به مناسبت بیستمین سال درگذشت سیاوش کسرایی با شیرین فامیلی از کتابداران فرهنگی کانون پرورش فکری کودکان و نوجوانان در دوران پیش از انقلاب و حسن مکارمی، از استادان دانشگاه بلوچستان و یکی از همکاران سیاوش کسرایی  و همچنین با بی‌بی کسرایی، دختر او گفت‌و گو کرده‌ایم. 

آن‌ها، هر یک روایتی از یکی از دوره‌های زندگی سیاوش کسرایی را به دست می‌د‌هند: شیرین فامیلی از فعالیت سیاوش کسرایی در سال‌های پیش از انقلاب در حلقه‌های ادبی در تهران سخن می‌گوید، حسن مکارمی از دوران استادی او در دانشگاه بلوچستان و بی‌بی کسرایی از دلمشغولی‌های اجتماعی او.


ویژه‌ برنامه بیستمین سالگرد درگذشت سیاوش کسرایی - ۱

قربان سلیمانی (۱۲۹۹- ۳۰ دی ۱۳۸۶)، بخشی و نوازنده دوتار و خواننده موسیقی محلی شمال خراسان بود


2 Tar,Avaz

حاج قربان سلیمانی

Haj Ghorban Soleymani|Jajo Khan|حـاج قـربان سـلـیـمـانـی|داستان جَجو خان

سازمان چریک‌های فدایی خلق ایران (اقلیت) در زمستان 1359 سه نوار با عنوان «بهمن» منتشر کرد. سعید سلطانپور و دیگر اعضای «کارگاه هنر ایران» به این ترتیب اولین فعالیت هنری گرایش اقلیت را سازمان دادند. در نوار «بهمن 2» که با عنوان دوم «سرزمین شوراها؛ به یاد شهدای خلق ترکمن» منتشر شد، چهار سرود برای مبارزات مردم ترکمن ساخته شده بود. «چهار آذرخش؛ به یاد چهار شقایق سرخ ترکمن» یکی از آن چهار سرود است

«آشوب»

Arshia Moltaji

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