Mohammad Mostafa Heydarian — Noor-E Vojood (Centripetal Force)
The Kurdish tanbur is one of a family of stringed instruments with a fretboard found throughout central and western Asia. These musical traditions trace back thousands of years and are highly localized, being associated with individual cities and even families. This long, thin lute has three strings, two of them doubled, and is played with up- and downstrokes of the fingers. The sound is dry, almost metallic, with a steady drone in the background while the doubled strings carry the melody. Flurries of notes are punctuated by pauses and meditative passages, with the wide range of right-hand techniques adding variety. In the hands of Mohammad Mostafa Heydarian, the tanbur alternately sings, sighs and shouts to the heavens.
Heydarian is the young (b. 2002) scion of a musical family. His father, a percussionist, builds tanburs and started his son on the instrument at an early age. Learning at first from cassettes and later from masters of the regional tradition, Heydarian has established himself as a master in the making. The liner notes seem to suggest that the tracks on this recording are his compositions based on traditional modes (maqams). At least some feature Morteza Rezâei on dohool (cylinder drum). Heydarian’s playing is so full and out front in the mix that it is difficult to distinguish the two instruments, though sometimes, as on “Nishtemân,” their interplay is heard clearly and to great effect.
The longish tracks, ranging from four to 11 minutes, give Heydarian ample space to develop his ideas. Despite the focus on a single instrument and playing tradition, each has a distinctive character. The opening track, “Darâmad,” which apparently and appropriately means “begin music” in Farsi, starts things off slowly, with tentative strums and shifts in tempo, and then gently resolves. The aforementioned “Nishtemân,” by contrast, builds up a driving momentum over eight minutes. “Bâyeh Bâyeh” features a powerful, minor-sounding riff and more dazzling finger and fret work. The centerpiece of the album is “Dar Tamannâye Eshgh,” the longest track, on which Heydarian demonstrates the full range of his musicianship, from incredibly precise strumming to gentle guitar-like passages, with Rezâei’s percussion providing additional color.
For those (like me) who have little knowledge of the tanbur tradition beyond isolated tracks on collections such as The Secret Music of Mankind, Heydarian’s playing is a revelation that has to be seen to be believed. His development as an artist is sure to result in more outstanding recordings like Noor-E Vojood. Also, in addition to his dedication to the local tradition, he has demonstrated a willingness to collaborate with modern players from outside the tradition. Beyond being a joy to listen to, Heydarian’s music is a reminder that the cultures of Iran and central Asia transcend the political strife that tends to dominate Western perceptions of the region.
Kalbinde ve niyetinde safiyet varsa düşsen de heba olmazsın. Yıpranırsın, yaralanırsın, yorulursun ve düştüğün yerden kalkıp yoluna devam edersin. Hiç bitmeyecekmiş gibi uzayan ve yayılan karanlık, bir sabahın aydınlığına yakalanır ve mağlup olur.
Note the plectrum grip - same as the North African kwitra and oud arbi and the medieval European lute. And the classical kemençe is a surviving instrument akin to the medieval European rebec, though I doubt medieval Europeans played it without a nut, without finger pressure, and with melismas.
N.b. My academic training and knowledge base is Eurocentric: I study European music history and historical performance. So, when I find Middle Eastern and North African connections to historical European practices, it is usually the case that the Middle Eastern and North African traditions are the parents and the European ones are the children. This research is my way of branching out into a more global and ancient conversation, and this blog is my means of documenting it. I do not want to give the misleading impression of European trends as being central to the musical traditions of the lute and its cousins, as that is very much not the case.
Kim hancerliyor ya ? 😅 rivayeti biz mi yaydik ? Kendilerine zamaninda 'kuyruklu' dendigini kendi kendilerine ifsa ediyor arkadaslar ? Dolayisiyla ortada Kürt kokenli arkadaslara ait bir kuyruk acisi varsa da kaynagi biz Turk kokenli vatandaşlar degiliz. Kadinlarinin kendi eslerini belirleme iradeleri olmadigi ve genelde tecavuze ugradiklari icin evrimde ilerleyemiyorlar, hatta geriye gidiyorlar . Evrimde geri toplumlarin birinci ozelligi aile ici ensest yonelim zaten. Dogada insan iradesine dönuk bir tecavuz tehditi oldugu icin kuyruk salan insanların hastalığı; Türkcesi 'açık omurga' olan Menincogele. . Bu insanlar 10 cm'ye kadar kuyrukla dünyaya geliyor. Çunku fonksiyon insan genetik hafizasinda bir yerde gömülü. Simdilik seyrek goruluyor ama dogada tehlike arttikca , İnsanın kendi eşini belirleme iradesi baskilaninca daha da artacak. Gecen yuzyilda görulmeyen çocuklardaki Otizm hastaliginin ozelligi ne ? Cocuklarin temasi ve iletisimi reddedip ömur boyu gozetim gerektirmesi. Üstün zihinsel yetenegini koruma altina almak icin bunye farkli kodlari aktive/deaktive ediyor. Atalarimızdaki Kafatası yapısının bugün bizde olmamasınin sebebi de genin yok olması değil. Anaerkil gelenekten uzaklaşıp; kadın iradesi baskı altına alınınca gerievrime girilmiş. Doğada savunmasız olana ; İnsan İradesine yönelik tehdit oluşturan koşullar ortadan kalktığında aktive olabilirliği mümkün bir kod. *** Rivayete göre 1930'larda bir gazeteci, kuyruk sokumunda kuyruk benzeri bir ur çıktığı için yaşadığı Kentten Ankara'ya sevk edilen bir Kürt'ün fotoğrafını çekip baş sayfada basar ve altına "Kuyruklu Kürt" diye başlık atar. Gene eskilerden gelen bir rivayete göre Doğu Anadolu'nun ortalarında bir köyde yaşayanların kuyruklarının olduğu anlatılırmış ve bu yüzden Türkiye'de Kürt kökenli vatandaşlarımız hakkında 'KUYRUKLU KÜRT' şeklinde bir tabir kullanılırmış eskiden. Şahsen yetiştiğim yerde hiç duymamıştım. *** KUYRUK; Türkçe de etimolojik olarak bile KUYMA ya da KUYMAMA iradesi sunan bir organ adı olarak isimlendirilmiş. #TIN #TINI #DİN #MÜZİK #TANBUR #evrim #kuyruk #kuyrukluKürt #menincogole #açıkomurga #dünyadiliTürkçe *devamiYorumda👇🙈 https://www.instagram.com/p/Ca_vryrA_az/?igshid=NGJjMDIxMWI=
