Lesson Learned: Iranian’s are making it known that they can be just as creative as other artists around the world. Releasing discs displaying their work is just the beginning.
Description:
This article escapes to a small Kurdish village in which was annihilated by Saddam hussein, where the kamancheh or an upright four-stringed Persian fiddle, breaks out in the song “Silent City”. The song which is based on a traditional turkish melody commemorating Halabjah is now included on a new disc. It introduces murmuring strings that symbolize the swirling dust of the barren ruins, along with a Kurdish melody resembling the rebuilding of the destroyed village. The sound of the kamanchech is “warm and very close to the human voice” exclaimed Kalhor, a virtuous kamancheh player who’s recorded playing on the album. Kalhor began his journey involving music at a young age. At 7, he started studying the kamancheh and by the age of 13, he was playing in Iran’s National Orchestra of Radio and Television. He explains that his reason for leaving Iran was not for political reasons; it was to further his musical studies. “Silent City” is eight years of learning and experimenting. In the end, he couldn’t believe that he recorded this song with the help of the members of the Brooklyn Riders, coming together to make their dreams come true, adapting their music styles to different tones and modes common in Middle Eastern music. Kalhor believes that sometimes it’s obvious when performers really don’t know each other, hoping to stray away from that approach. Sometimes it’s inevitable when he performs with other Iranian singers like Muhammad Reza Shajarian, getting asked questions about politics, the president, government and anything else under the sun. Kalhor sticks with what he knows, traditional Persian melodies, also involving other instruments such as the setar (Iranian lute), violins, santur and even percussion heard throughout this new disc. Music still thrives on for Iranians. This time with an added flair. (Schweitzer 1)
Evaluation:
This article had some good points and bad points. The bad points were that it rambled on pertaining to the different songs on the disc, not giving the article the needed boost to really grasp the readers attention. I understand the reasons for the author wanting to display the songs on the new disc, but sometimes that information is not needed and can make it a tad boring. However, the good points were that it gave information about kamamncheh player, Kayhan Kalhor and his experiences pertaining to leaving Iran and experimentation with music. He sets people straight who constantly believe his reason for leaving Iran is due to politics. They are wrong. It is known that Kalhor left Iran so that he can become the musician he has always dreamed of, just like other Iranians who have the same dream but are too afraid. Nonetheless, this article could of been better, but it did justice on exhuming the various instruments on the disc, which listeners could look forward if they decided to listen to the songs listed.
Citation:
MLA: Vivien Schweitzer. "A Master Iranian Musician Plays Cultural Ambassador: The Arts/Cultural Desk." New York Times: E.3. Print. 2008.
APA:Vivien Schweitzer. (2008, A master iranian musician plays cultural ambassador: The Arts/Cultural desk. New York Times,pp. E.3.
This article had some good points and bad points. The bad points were that it rambled on pertaining to the different songs on the disc, not giving the article the needed boost to really grasp the readers attention. I understand the reasons for the author wanting to display the songs on the new disc, but sometimes that information is not needed and can make it a tad boring. However, the good points were that it gave information about kamamncheh player, Kayhan Kalhor and his experiences pertaining to leaving Iran and experimentation with music. He sets people straight who constantly believe his reason for leaving Iran is due to politics. They are wrong. It is known that Kalhor left Iran so that he can become the musician he has always dreamed of, just like other Iranians who have the same dream but are too afraid. Nonetheless, this article could of been better, but it did justice on exhuming the various instruments on the disc, which listeners could look forward if they decided to listen to the songs listed.
Citation:
MLA: Vivien Schweitzer. "A Master Iranian Musician Plays Cultural Ambassador: The Arts/Cultural Desk." New York Times: E.3. Print. 2008.
APA:Vivien Schweitzer. (2008, A master iranian musician plays cultural ambassador: The Arts/Cultural desk. New York Times,pp. E.3.
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