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(b. Tehran, 1887; d., Tehran, 9 September 1979), composer, virtuoso tār player, musical theorist, and educator. VAZIRI, ALI-NAQI (ʿAli-Naqi Waziri; b. Tehran, 1887; d., Tehran, 9 September 1979), composer, virtuoso tār player, musical theorist, and educator. Life. Vaziri was the son of Musā Khan Mirpanj, a high ranking army officer, and Bibi Ḵānom, a well-educated woman active in the cause of women’s liberation. From childhood, Vaziri was inured to the rigors of military life, which seem to have been well suited to his temperament…

a melody (gūša) in the modal system (dastgāh) Homāyūn, one of the twelve modal systems of the contemporary tradition of Persian classical music. An important and popular gūša, Bīdād is always included in the performance of Homāyūn, even when the performance is short and selective. A version of this article is available in print Volume IV, Fascicle 3, pp. 240 BĪDĀD, a melody ( gūša) in the modal system ( dastgāh) Homāyūn, one of the twelve modal systems of the contemporary tradition of Persian classical music. An important and popular gūša, Bīdād is always included in the performance …

For eleven consecutive years, beginning in 1967, a festival of arts, known in Persian as Jašn-e honar, took place in Shiraz and the nearby remains of the ancient imperial city of Persepolis. Its purpose was to be a meeting place of the performing arts of the Eastern world with those of the West. SHIRAZ ARTS FESTIVAL. For eleven consecutive years, beginning in 1967, a festival of arts, known in Persian as Jašn-e honar, took place in Shiraz and the nearby remains of the ancient imperial city of Persepolis. The Festival owed its conception to the ideas put forth by the…

The first piano is known to have arrived in Persia as a gift from Napoleon Bonaparte to Fatḥ ʿAli Shah. PIANO IN PERSIAN MUSIC. The first piano known to have arrived in Persia was a gift from Napoleon Bonaparte to Fatḥ ʿAli Shah (q.v. Ḵāleqi, pp.157-8). This was a small 5-octave instrument and must have been hopelessly out of tune by its arrival in Tehran; it is unlikely that it was ever put to any use. In the second half of the nineteenth century, subsequent to Nāṣer-al-Din Shah’s visits to Europe, pianos were imp…

a maqām in Arabian, Turkish, and Persian musical traditions to this day; however, the contemporary form of the maqām of Būsalīk differs from that which is given by the classical scholars. A version of this article is available in print Volume IV, Fascicle 6, pp. 568 BŪSALĪK, mentioned in medieval treatises on music, notably in the Ketāb al-adwār of Ṣafī-al-Dīn Ormavī (d. 693/1294), as one of the maqāms of the Perso-Arabian musical system of the time. Its scale, within the range of an octave, was as shown in Chart 6 (Wright, 1978, p. 65). It has remained a maqām in Arabian, Turkish, and Persi…

Born into an aristocratic and affluent family, Abu’l-Ḥasan had the good fortune of being raised in an environment fostering love of music and arts. He descended from a long line of court physicians, known for their artistic talents. ṢABĀ, ABU’l- ḤASAN (b. Tehran, 1281 Š./1902; d. Tehran, 29 Āḏar 1336/19 December 1957), Persian musician and music educator (Figure 1; Figure 2). He excelled as a performer and teacher of the violin, setār, santur, and tombak ( tonbak; see IRAN xi. MUSIC, DRUMS). Born into an aristocratic and relatively affluent family, Abu’l-Ḥasan had the excepti…

(1906-1965), Persian music educator, composer, and music scholar. Through his teaching, admiration for the polyphonic richness of Western music was transmitted to some of his pupils. A version of this article is available in print Volume XV, Fascicle 4, pp. 377-380 ḴĀLEQI, RUḤ-ALLĀH (b. Kermān,1324/1906, d. Salzburg, Austria, 21 Ābān 1344/12 November 1965; Figure 1), Persian music educator, composer, and music scholar. He was from a well-educated middle class family. His father, Mirzā ʿAbd-Allāh, was a civil servant who was appointed to various posts in pr…