شب پلنگ، منظومه‌ی عاشقانه‌ای از کلارا خانس
به ترجمه و صدای محسن عمادی

Shab-e Palang

Clara Janes (Panther's night) | Mohsen Emadi

به یاد استاد فرامرز پایور_سنتور لا کوک ساخت استاد جواد طلوعی

Dastgah-e Nava _ Santur : Pooriya Faraji

Mohammad Reza Lotfi
Koln Concert
Improvisation In Dastgah-e Mahur

Improvisation (Delkash)

دکلمه مجموعه اشعاری از شاعر و هنرمند انقلابی سعيد سلطانپور با  صدای خودش

Soroud Baraye Golhaaye Sorkh سرود برای گلهای سرخ

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

معصوم اول. هوشنگ گلشیری

زخون ما که شد روان به راه حق، جوانه های انقلاب جان گرفت
شراره ها ز انتقام توده ها، به خرمن وجود دشمنان گرفت
این سرود در زمستان ۱۳۵۰ توسط محمد سیدی کاشانی در زندان اوین سروده و تنظیم شده است.

Khoon - سرود خون

Mohammad Hossein Yegâneh, Dotâr and Vocals
Publish Year : 2002
The Music of Northern Khorâsân  
Compiled by H. Ardalan and M. Lotfi
M. CD. 92

Mohammad Hossein Yeganeh, Dotar and Vocals

Incha bel/Mohammad Hossein Yeganeh, Dotar and Vocals

The Music of Northern Khorasan
Publish Year : 2005
The Iranian Folk Music 10 
Rowshan Golafruz, Vocals and Dotar 
Accompanying notes by Ameneh Yusefzadeh
M. CD 184

Regional Music of Iran, Vol. 10: Music from Northern Khorasan

Navai/The Music of Northern Khorasan

Bakhtiyâri Dances
Publish Year : 2004
K. Hasani, Z. Hosseini and A. Mehdipur, Kârna and Sornâ 
Q. Qâsemi, B. Ne’mati and P. Bozorgniâ, Vocals
A. Heydari, Q. Qâsemi and M. Kuchaki, Dohol
Recording and accompanying notes by Mansureh Sâbetzâdeh
M. CD 174

Bakhtiyari Dances

Kaj Kola Shirazi, Azizom/Bakhtiyari Dances

Music of Torbat-e Jâm
Publish Year : 1999
The Iranian Folk Music 29 
Nurmohammad Dorpur, Vocals
Zolfaqâr Asgaripur, Dotâr
M. CD 42

Khoshâmadi/ ‌Badakhshan

Mahoor Institute

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