Panel abstract TBC<\/p>\n\n\n\n
(Click on the titles to read the abstracts)<\/p>\n\n\n\n When all the elements of a piece of music resonate with a listener’s cultural background, they perceive it as belonging to their own culture. However, this sense of cultural connection is not absolute. We may find ourselves drawn more to one piece of music than another, even if both originate from similar cultural contexts. The elements that make music feel familiar and connect to our identity are a combination of the music’s own characteristics (musicological) and the cultural context it evokes. This study proposes a model based on these two aspects, which I have named “musical shamsa.” My model takes the form of a Shamsa. Traditionally, Shamsa illustrations depict motifs in a universal form, inspired by the shape of the radiant sun (shams literally translates to “sun”). Through the Shamsa model, you’ll see how each structural element of Persian music is completed by its surrounding cultural context, ultimately forming the complete picture.<\/p>\n\n\n\n In her compelling study, Supeena Insee Adler, a highly skilled performer of Thai classical music and an accomplished instrument technician from Thailand, shares her profound insights into a remarkable collection of Thai musical instruments housed at UCLA. This investigation is anchored in a pivotal project she undertook from 2014 to 2015, where she painstakingly restored a historically significant collection of instruments that had long been the responsibility of UCLA. Thanks to her expert care, these instruments are not only restored to their former glory but are also actively used in her Thai ensemble course and performances, enriching the university\u2019s cultural landscape. Adler provides a unique artisan’s perspective on the intricate repair process, emphasizing the deep cultural practices intertwined with these instruments. She vividly recounts the rituals involved in tuning a reluctant gong, showcasing the connection between craftsmanship and cultural heritage. Furthermore, she explores the rich histories of these instruments prior to their arrival at UCLA in the 1960s, highlighting that many were once owned by the legendary Luang Pradit Phairoh, a revered Thai court musician of the early twentieth century, which significantly elevates their importance. In her conclusion, Adler delves into the dynamic social networks that these instruments have traversed throughout their histories. She illustrates how they have fostered connections within Thailand, nurtured collaborations between the musical and scholarly communities in Bangkok and UCLA, and are now bridging a cultural gap with the burgeoning Thai diaspora in the United States \u2013 a community that was scarcely present when these instruments first arrived. Through this exploration, Adler not only honors the legacy of these musical treasures but also illuminates their ongoing role in connecting people and cultures across time and space.<\/p>\n<\/details>\n<\/details>\n\n\n\n What is a\u00a0dastg\u0101h<\/em>, how did it emerge, and how did become the modal system of Iranian music? This paper attempts to address those questions briefly. In the 13th century, Safiuddin al-Urmawi established a system of modes and explained how modes were connected by pointing out the shared notes between mode scales. His theoretical discourses were followed by the subsequent authors, including Qotboddin Shirazi was the first to write about the structural connections between the modes in a way that could be used in modulations. Abd-ol-Qader Mar\u0101ghi applied Shirazi\u2019s concept of proximity of the modes to Ormavi\u2019s approach of using the set of twelve modes as the basis of the discussion. Eventually, the first version of modulation instructions appeared in seventeenth-century musical texts, and they expanded into more elaborate modulations which included a suggested order for going from one mode to another. These collections were called\u00a0shad<\/em>\u00a0and later\u00a0dastg\u0101h<\/em>. After providing the brief history of the formation of\u00a0dastg\u0101h<\/em>\u00a0as a musical form, this paper attempts to explain how it was transformed into a modal system.<\/p>\n<\/details>\n\n\n\n This paper investigates the social aesthetics of the precomposed instrumental form of reng,<\/em> as one of the main parts of the Iranian dastg\u0101h<\/em> music repertoire and its gradual fade since the late 20th century. Originally performed to accompany dance (raqs)<\/em>, reng<\/em> shares a long history as an instrumental piece often in duple or triple meter with a moderate to fast tempo in Persian classical and art music (Farhat 2004, 22). For centuries, the association of reng<\/em> with dance embodiment, the courtesan entertainment, improvisatory theater ruhowzi<\/em> genre, and lighter musical implication identified this form with a social stigma, lower artistic class, and complexity in Iran under the Islamic rule. However, the course of modernity, new establishment of Iranian art music genre and new socio-cultural changes under the modernist Pahlavi regime in the early 20th<\/sup> century elevated the musical complexity and social status of reng<\/em> to a well-received instrumental composition, standing out for its upbeat mood, vibrant rhythmic structure and stylized syncopation, especially to conclude a dastg\u0101h<\/em>, a concert program, and prominent vocal compositions such as tasn\u012bf <\/em>(Lucas 2019; Azadehfar 2011; Zonis 1973). Many influential master-musicians including Vaziri, Khaleqi, Saba, Darvishkhan and Payvar composed innovative pieces in reng<\/em> form for performance and pedagogical purposes. Regardless of its role in the aesthetic and pragmatic repertoire of Iranian dastg\u0101hi <\/em>music, reng<\/em> composition met a new phase of decline in the following decades. In this research, by looking into selected musical examples, I discuss the gradual fade of the reng<\/em> composition interlinked with socio-cultural changes including the new waves of traditionalism enhanced by orientalist enthusiasm in Iranian arts, inclination toward ideologies of spirituality, and dismissing Iranian pop elements such as the 6\/8 groove (shio-hasht<\/em>) which were later intensified by the socio-political reformations under the 1979 Islamic Republic revolution. I argue the role of social aesthetics, embodied ideologies, and reformed identities in shaping dynamics of cultural change and fade of Iranian reng<\/em> form in the 20th<\/sup> century.<\/p>\n\n\n\n Charkh is one of many keywords when considering Iranian culture. In Persian, Charkh initially means “a wheel”. This concept of Charkh is, for Persian music studies, highly suggestive if only for its implications of \u201ccirculation “. In this presentation, I illustrate how a Charkh-like structure is reflected in performance form and in the musical structure, and how it exists in various scales as multilayers and interlaces in one performance. Finally, I clarify the Iranian way of listening, feeling and making music which is peculiar to a Charkh feeling. The Charkh-like structure in Iranian music indicates the following temporal distribution of traditional melody types such as \u201cchange and recursion of tessitura and atmosphere\u201d. Several traditional melody types, which constitute the mode of Iranian music, are, roughly speaking, performed from melody types, which take on lower tessitura, to melody types which take on higher tessitura. And after reaching the highest tessitura of the mode, it returns quickly to the tessitura and atmosphere of a base through a fixed melody type called \u201cfor\u016bd(down)\u201d. This \u201cCharkh\u201d structure is surely reflected in their performance form and musical structure. There is, therefore, way of listening, feeling and making music peculiar to a \u201cCharkh feeling\u201d there. Namely, this \u201cView of Charkh\u201d has a very important meaning in the mind of the performer during improvisation in terms of \u201cwhat to do next,\u201d and that is reflected in the musical form as well. In traditional music, musical acquisition is not merely memorizing traditional melody types as a repertory but rather the acquisition of a \u201cView of Charkh\u201d.<\/p>\n<\/details>\n\n\n\n <\/p>\n\n\n\n TBC<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" Panel abstract TBC (Click on the titles to read the abstracts) Presenters’ bios TBC<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-244","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/conferences.iftawm.org\/conferences\/wp-json\/wp\/v2\/posts\/244","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/conferences.iftawm.org\/conferences\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/conferences.iftawm.org\/conferences\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/conferences.iftawm.org\/conferences\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/conferences.iftawm.org\/conferences\/wp-json\/wp\/v2\/comments?post=244"}],"version-history":[{"count":1,"href":"https:\/\/conferences.iftawm.org\/conferences\/wp-json\/wp\/v2\/posts\/244\/revisions"}],"predecessor-version":[{"id":245,"href":"https:\/\/conferences.iftawm.org\/conferences\/wp-json\/wp\/v2\/posts\/244\/revisions\/245"}],"wp:attachment":[{"href":"https:\/\/conferences.iftawm.org\/conferences\/wp-json\/wp\/v2\/media?parent=244"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/conferences.iftawm.org\/conferences\/wp-json\/wp\/v2\/categories?post=244"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/conferences.iftawm.org\/conferences\/wp-json\/wp\/v2\/tags?post=244"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Mohammad R Azadehfar (University of Arts, Iran), “An Introduction to Shamseh<\/em> Model: Cultural-musicological Tool of Describing Dastg\u0101hi Music”<\/summary>\n
Supeena Adler (UCLA), \u201cFamily Heirlooms as Social Objects: The Thai Musical Instruments at UCLA\u201d<\/summary>\n
Mohsen Mohammadi (UCLA, USA), \u201cDastg\u0101h<\/em>: Evolution of a Musical Form into a Modal System\u201d<\/summary>\n
Nasim Ahmdian (University of Alberta, CA), “The Fade of Persian\u00a0Reng<\/em>\u00a0Form in Iranian Classical Music Performance since the Late 20th<\/sup>\u00a0Century: Implementation of Social Aesthetics, Ideologies, and Reformed Identities”<\/summary>\n
Tani Masato (Kobe University, Japan), “Charkh in Iranian music: a paradigm of “circulation” in its performance form and musical structure”<\/summary>\n
\n\n\n\nPresenters’ bios<\/h2>\n\n\n\n