"Bayesian approach methodology in science and engineering" seminars organized by Department of Engineering Science at University of Tehran
03 Mar 2015 Comments Off
28 Feb 2015 Comments Off
Yasar Kemal, one of Turkey’s best-known novelists whose focus on social injustices brought him into conflict with authority, died in Istanbul on Saturday. He was 91.
Kemal, best known for his first novel, “Ince Memed” or “Memed, My Hawk,” also turned his pen to promoting Marxism during his early years and defending the rights of minorities in Turkey, including the Kurdish minority of which he was part.
Kemal died at Istanbul’s Capa Hospital where he was admitted on Jan. 14 and being treated in its intensive care unit for multiple organ failure, Dr. Mehmet Akif Karan said.
“Memed,” published in 1955, was based on the troubled feudal relations in Turkey’s southern, agrarian regions where Kemal grew up. Reflecting the author’s leftist views, the book’s young peasant-turned-brigand hero takes a stand against injustices suffered by villagers at the hands of powerful landlords.
The character of Memed was drawn in part from Kemal’s memory of his mother’s brother, an outlaw named Mayro — “the best-known outlaw in the eastern Anatolia, Iran and Caucasus areas.”
“Mayro was killed when he was only 25,” Kemal said in an interview with French author Alain Bosquet. “I have heard many lullabies and a lot of national poetry that depict the bravery and heroism of Mayro. Mayro’s adventurous life was quite an inspiration to me when I was a child, and his footprints can clearly be seen in most of my novels.”
“Memed” was first published in installments in Cumhuriyet newspaper in 1953 and 1954 where Kemal was a journalist. The book won Turkey’s Varlik literary prize in 1956 and it was widely translated, as were most of the more than 35 other books he wrote.
On its strength, the struggling first novelist found his name circulated as a possible candidate for the Nobel literature prize.
“It was one of the coldest Istanbul winters ever. I had no money to put wood in the stove,” Kemal said in a speech in 2003 at Bilkent University, recalling the time he wrote the novel.
“Yet, I just pretended that the fire was going strong; I covered myself in a ripped blanket, and typed away on an old typewriter that was missing many keys. That’s how I wrote the ‘Ince Memed,’ and this novel is the best memory I kept from that house I could not pay the rent to.”
Kemal’s ability to delve into human nature and bring out the universal traits in his characters made his novels accessible to all sections of society. “Memed” and eight other novels were made into films.
“My adventures are aimed at exploring the mystery of the human,” he said at an award ceremony at the presidential palace in 2008.
In an interview with The Associated Press in 1996, Kemal recalled hearing his father sing Kurdish songs on a hilltop overlooking their village in the southern province of Adana. These were sagas of Kurdish heroism — of wars, lost sons and migrations in past centuries; of nostalgia for lands left behind.
However, Kemal didn’t promote his Kurdish background and few people knew he was a Kurd. “I’m a Turkish writer — of Kurdish origin,” he said.
But he did speak out during clashes between autonomy-seeking Kurdish guerrillas and Turkish troops in mid 1990s. Kemal was tried in 1995 under anti-terror laws but acquitted for an article he wrote for the German magazine Der Spiegel, accusing the Turkish army of destroying Kurdish villages. He saw his acquittal as one step in a longer struggle.
“One person’s acquittal does not mean freedom of expression has arrived. You can’t have spring with only one flower,” Kemal said at the time. “We still have to work very hard to achieve democracy in Turkey. I will continue to write these things until there are no trials against expression.”
In the same year, he received a 20-month suspended sentence for another article for “inciting hatred and promoting racism.”
“I couldn’t sleep at nights for a year,” Kemal said. “I had pangs of conscience. ‘You are a writer. You have to speak up,’ I kept telling myself.”
Although Kemal wasn’t the first writer to be sentenced for writings about the Kurdish issue, his views attracted wider attention. Nobel laureate and playwright Arthur Miller sent a letter of support to Kemal and called his sentence “a painful absurdity.”
Kemal angrily rejected charges from Turkish ultranationalists that he was a traitor and shouldn’t write in Turkish.
“My life has been dedicated to the Turkish language, Turkish culture,” he said. “I don’t want a separate Kurdish state, nobody does. All that the Kurds want is their universal human rights — the right to preserve their language, culture, identity.”
Prime Minister Ahmet Davutoglu reacted to Kemal’s death by praising the writer’s ability to “maintain his dissident attitude and express the truth without holding back at times when speaking the truth was hard.”
Kemal Sadik Gokceli was born in 1923 — he believed it was sometime in October — in a small village in Adana. He grew up hearing the Kurdish language at home and Turkish outside.
Kemal was blinded in his right eye as a child when a knife slipped out of a butcher’s hand. When he was 5, the boy witnessed his father being murdered by his adopted son, jealous of the father’s love for his natural son. Kemal re-imagined his father in the autobiographical novel “Yagmurcuk Kusu” (“Rain Bird”), granting his father a much longer life.
As a teenager, Kemal dropped out of secondary school and worked as a farm hand, a substitute teacher, a library clerk, a tractor driver and other jobs before moving to Istanbul, where he wrote for Cumhuriyet, taking the pseudonym Yasar Kemal.
He joined the Turkish Labor Party in 1962 and founded the weekly Marxist magazine, Ant, in 1967. His “A Guide to Marxism” published in Ant led to his prosecution on charges of promoting communism but his 18-month prison sentence was later suspended.
Kemal’s poems were first published in local newspapers. His first book, “Agitlar” or “Ballads,” published in 1943, was a compilation of folklore he collected during his travels.
Kemal won numerous international awards including the Legion d’honneur from the French government.
“I don’t write about issues, I don’t write for an audience, I don’t even write for myself. I just write,” Kemal said in an interview with the Guardian in 2008.
“Yes, there is rebellion in my novels, but it’s rebellion against mortality. As long as man goes from one darkness to another, he will create myths for himself. The only difference between me and others is that I write mine down.”
In 1952, Kemal married Thilda Serrero, who translated some of his works into English and died in 2001. Kemal is survived by their son, Rasit Gokceli, and his second wife, Ayse Semiha Baban, a lecturer at Istanbul’s Bilgi University.
26 Feb 2015 Comments Off
The 4th Iranian Festival of Music-based Weblogs and Websites will be held in Niavaran Cultural Center, in North of Tehran, Iran, on Feb. 28th, 2015. The initiator and founder of the festival, Sadjad Pourghanad, is himself an Iranian tar and setar player and also an editor-in cheif of Tehran-based online music magazine HarmonyTalk. Sadjad also runs Sol.ir music website.
The referees for this competitive festival are Mohsen Ghanebasiri (Iranian an epistemologist, chemist, author and theorist on economy, culture, arts (cybernetics) and management), Shahram Saremi (Iranian kamancheh player), Dr. Mohammad Reza Azadehfar, Dr. Pirooz Arjmand, and Dr. Narges Zaker Jafari.
Guest musician who play to support the festival include Peyman Soltani (Iranian composer and tar player), Mehdi Emami (Iranian vocalist), Shaahin Mohajeri (Iranian tombak player), Saeed Yaghoobian (Iranian tar player), Shayan Yazdizadeh (Iranian tombak player), and Dr. Peyman Nasehpour (Iranian hand drummer and mathematician).
19 Feb 2015 Comments Off
Master of Conga, Ray Barretto dies at 76, New York Times reported.
More on conga
More on hand drums names
15 Feb 2015 Comments Off
in Iran, peyman nasehpour Tags: azerbaijani music, daf, darbouka, dayereh, dohol, drums, frame drums, ghaval, goblet drums, Iran, iranian, Iranian tempo, iranians, naghara, Naghareh, persia, persian, persians, tombak, tonbak, zarb
Question: What Drums Do Iranians Play?
Answer: Tombak, Dayereh (Ghaval), Daf, Dohol, and Naghareh.
Apart from Pop music and symphonic orchestras, we have two categories of music in Iran: Persian classical music (also known as Persian art music) and Persian regional music (also known as Persian folk music). In Iran, some may use the term “Iranian traditional music” for Iranian / Persian classical music as well.
The drums used in Persian classical music (Musighi ye Asil e Irani): The most popular drums used in Iranian classical music is the tonbak (Persian goblet drum) and the daf (Persian frame drum). In some rare cases, dayereh (a smaller frame drum) is also used.
For tonbak (other names for this hand drum is tombak and zarb) refer to my articles gathered in this page:
For daf and dayereh (frame drums) articles go to this page:
In folk music of Iran, Iranians play very different frame drums. Apart from tombak, dayereh and daf, other drums such as Dohol (Iranian cylindrical drum) and Naghareh (Iranian kettledrums) are the most popular ones.
Please check the following articles of mines:
I have gathered a couple of strange percussion instruments in the following articles:
Sometimes in Iranian pop music, a goblet drum with the name “tempo” is also used. Iranian “tempo” is almost the same as Egyptian darbouka. Also note that in Azerbaijani music there exists a special cylindrical drum with the name “Nagara” (also spelled as Naghara). I must mention that we have Azerbaijani ethnics in Iran. In fact, Iranian Azerbaijani area is more populous than the new established country, Republic of Azerbaijan. I am one of those Iranian Azerbaijanis.
11 Feb 2015 Comments Off
Adufe: The adufe is a traditional Portuguese square drum of Moorish origin. The word adufe comes from the Arabic term “al-duf”.
Ashiko: The ashiko is a Nigerian vessel-shaped hand drum.
Atabaque: The atabaque is a tall, wooden, vessel-shaped Afro-Brazilian hand drum.
Bara: The bara (also called bendré) is a spherical West African hand drum with a body made from a dried gourd or calabash.
Bata: The bata is a double-headed Nigerian folk drum shaped like an hourglass with one cone larger than the other one.
Bendir: The bendir is a North-African traditional frame drum without jingles.
Bongo: The bongos are an Afro-Cuban hand drum consisting of a pair of small open bottomed drums of different sizes.
Bougarabou: The bougarabou is a set of West African hand drums. The drums are one-faced, with a goblet or roughly conical shape, usually placed on a single stand, and most commonly played in sets of three to four.
Conga: The conga is a barrel-shaped one-faced Cuban hand drum.
Daf: The daf is a Persian / Kurdish large-sized frame drum with jingles.
Dayereh: The dayereh is a Persian medium-sized frame drum with jingles.
Dholak: The dholak is a roughly barrel-shaped double-faced
Indo-Persian hand drum.
Djembe: The djembe is a world famous West African goblet drum.
Gwo-ka: The gwo ka is a family of hand drums performed in Guadeloupean folk music of West African origins.
Kanjira: The kanjira is a south Indian small-sized frame drum with jingles.
Kebero: The kebero is a double-headed, conical hand drum used in the traditional music of Eritrea, Sudan and Ethiopia.
Kendang: The kendang is a two-headed roughly cylindrical shaped hand drum used by peoples from Maritime Southeast Asia.
Khol: The khol is a two-sided drum used in northern and eastern India.
Klong khaek: The klong khaek is a double-faced barrel-shaped Thai hand drum.
Klong song na: The “klong song na” is a double-faced barrel-shaped Thai hand drum used in the piphat ensemble.
Klong yao: The klong yao is a long goblet drum used in Thai music.
Kpanlogo: The kpanlogo is a West African hand drum performed in Ghana.
Maddale: The maddale is a double-faced barrel-shaped Indian hand drum.
Maram: The maram is a south Indian double-faced barrel or cylindrical hand drum.
Mazhar: The mazhar is a large sized Arabic frame drum.
Mirwas: The mirwas is a small-sized Arabic cylindrical hand drum popular in the Arab states of the Persian gulf.
Mridangam: The mridangam is a popular south Indian double-faced barrel-shaped hand drum.
Naghara: The naghara is a double-faced cylindrical Azerbaijani hand drum.
Pakhavaj: The pakhavaj also spelled as pakhawaj is a north Indian double-faced barrel-shaped hand drum.
Pandeiro: The pandeiro is a Brazilian frame drum.
Raban: The raban is a Sri Lankan one-headed hand drum.
Riq: The riq is a small-sized Arabic frame drum with jingles. It was also popular in ancient Persia.
Samphor: The samphor is a Cambodian small barrel-shaped hand drum.
Sulibao: A sulibao is a conical hand drum played by the Ibaloi people of the Philippines.
Taarija: The taarija is a Moroccan small goblet shaped hand drum.
Tabla: The tabla is a world famous pair of drums used in north Indian classical music and in traditional music of India, Pakistan, Afghanistan, Nepal, Bangladesh, and Sri Lanka.
Tambourine: The tambourine is a world famous European frame drum with jingles.
Taphon: The taphon is a double-headed barrel-shaped hand drum from Thailand.
Tar: The tar is an Arabic frame drum.
Tavil: The tavil also spelled as Thavil is a barrel shaped hand drum from Tamil Nadu.
Thon-rammana: The thon-ramana is a pair of hand drums used in Thai music. The thon is of goblet shape and the ramana is a frame drum. Usually the both drums are played together with one hand drummer.
Tonbak: The tonbak also known as the tombak or zarb is a Persian goblet drum.
Udukai: The udukai or uduku is a hourglass hand drum used in folk music and prayers in Tamil Nadu.
Zerbaghali: The zerbaghali also spelled as zirbaghali is an Afghan goblet shaped drum.
11 Feb 2015 Comments Off
in peyman nasehpour Tags: : Azerbaijani musical instruments, azerbaijani music, azeri music, Balaban, daf, davul, duduk, ghaval, hang, Iran, kamancha, Pandit Mahapurush Mishra, Percussion Instrument, persia, persian music, Persian musical instruments, peter giger, rhythm, rhythms, tabla, tar, tombak, tutak, zurna
I needed to add some new pages to my website including a page on Azerbaijani musical instruments.
It is always not so easy to add a new page to your website. You always need to be careful what content (text and picture) must be added to your new page. By the way, the new pages that I added listed here:
Tombak Rhythms including shish-hasht (6/8), haft-shaht (7/8), and panj-char (5/4)
Resource of the picture http://www.santoori.com