مکتب افسانه ای ضرب طهران
شیرزاد شریف در خانواده ای بسیار هنر دوست و صاحب نام که هنرمندانی همچون استاد فرهنگ شریف را در دامان خود پرورانده است چشم به دنیا گشود و از همان دوران کودکی با ظرافت ها و نوای دلنشین موسیقی اصیل ایرانی پرورش یافت
مادربزرگ او نیز تنبک را با چیرگی خاصی مینوازید بطوریکه از همان دوران کودکی شیرزاد محو و مدهوش تنبک گشته و مسبب آن شد که شیرزاد آموزش و فراگیری تنبک را در دوران نوجوانی نزد مکتب تنبک استاد گرامی خود جناب آقای بهمن رجبی آغاز نماید
شیرزاد صاحب یکی از قدیمیترین و اصیل ترین سبکهای تنبکنوازی ایران زمین است
وی علاوه بر تنبک نوازندگی دف و تنبور را نیز در ایران آموخت و از اینگونه با موسیقی مقامی ایران و تنوع های ضربی موسیقی محلی ایران نیز آشنا گشت و به نواختن دوتار و دیگر سازهای ایرانی و دایره زنگی عربی (الرّق) نیز اشراف دارد
شیرزاد شریف با اضافه کردن سیم بم به ساز تنبور به مانند استاد درویش خان وسعت و دامنهٔ صوتی ساز تنبور را نیز گسترش داده اند به طوریکه با تکنیکهای ابداعی ایشان و اضافه کردن سیم جدید، صدای تنبور به مانند عود، سه تار، تار و تنبور گشته است
وی در آمریکای شمالی، آمریکای لاتین و آسیا کنسرتهای هنری بسیار زیادی در زمینه موسیقی و در اکثر دانشگاههای معتبر آمریکا اجرا داشته است
سرپرست و موسس گروه سماع در آمریکا بوده است که بدون وقفه از سال ۲۰۰۲ میلادی درسراسر آمریکا کنسرتهای نوین و اصیل موسیقی ایرانی بر پانموده است که از میان آنها میتوان به پژوهش ها و نو آوری های بسیا جالبی در زمینه خلق و اجرای فرمهای اجرائی جدید برای موسیقی ایرانی به صورت آوانت-گارد و معاصر اشاره کرد
شیرزاد علاوه بر شناخت عالی موسیقی ایرانی تسلط کاملی به ریتمهای عربی دارد و اولین تنبک نوازی است که در طول ۴۰ سال گذشته تحقیقات جدی زیادی را در زمینهٔ باز سازی و اجرای ریتمهای اصیل رِنگی (بزمی) و ریتمهای (رزمی) ایران زمین انجام داده است که کمک شایانی به احیای موسیقی ریتمیک ایرانی محسوب میگردد
وی همچنین به موسیقی عرفانی و هنرهای رزمی و رقص علاقه فراوانی دارد و پایه گذار مکتب افسانه ای ضرب طهران میباشد که شامل هنرهای موسیقی رقص ایرانی، موسیقی محلی و حرکات موزون و رقص عرفانی، موسیقی اصیل ایرانی، موسیقی های تلفیقی و تجسمی میباشد که در اکثر کشورهای اسلامی رایج میباشد
In the name of Allah
The Most Compassionate The Most Merciful
Téhéran Mythical Zarb School of Music
Shirzad Sharif was born and raised in a highly privileged acclaimed musical family in Iran which has nurtured the likes of the Tar ("Persian Lute") Grand Master Ostad Farhang Sharif.
Shirzad was exposed to the intricacies of Persian classical music since early childhood and was fortunate to have studied the Tonbak drum under the supervision of Tonbak Grand Master Ostad Bahman Rajabi in Iran.
Shirzad has his own unique style which he learned from his grandmother and performs one of the oldest and most authentic styles of Persian drumming which was almost extinct & was strictly within the domain of the imperial court musicians of Persia.
He is largely responsible for restoring and preserving what is known as the Persian music & dance style rhythms. An extremely elaborate art form & body of rhythms, dances & techniques largely ignored over time which is considered a major contribution to art of Tonbak.
He has also highly customized, redesigned & re-invented his string instrument the ("Tanbur") & customized it according to his own specifications, he has since developed numerous unique styles and highly specialized techniques to accommodate his specific style of performing Persian music. This electric-acoustic instrument combines 4 very important principle Persian instruments ("Setar", "Oud", "Tar") into the original ("Tanbur").
This has allowed for the unique creation of a full bodied instrument that allows the utilization of various techniques, tones and sounds, related uniquely to each of the 4 instruments capable of utilizing either electric effects or simply being played acoustically in a concert hall setting & format.
He also performs Persian and Arabic Daf, Tanbur, Dotar and other Persian instruments and lutes as well.
Shirzad's body of work & music is some of the most creative, authentic, innovative, progressive classically based Persian music ever heard till this day & has been breaking genres, musical boundaries & geographical borders worldwide.
He is also responsible for restoring and preserving what is known as the Persian music & dance style called ("Reng"). An extremely elaborate art form & body of rhythms, dances & techniques largely ignored over time.
He is also very familiar with Arabic rhythms & Middle Eastern Percussion Concepts.
His skillful presentation and comprehensive teaching technique has lead to him performing and conducting seminars at many prestigious academic institutions such as the University of Maryland, University of Utah, UCSF, San Francisco State University, UC Berkeley & UCLA.
He also has proficiency in Mystical Islamic Music, Persian Dance Music, Persian Folkloric Music, Persian Authentic Music, Persian Court Music and Dances, Martial Arts and Battle Rhythms, Storytelling and is the creator of an Epic & Mythical School of Persian Drumming which is Prevalent in Most Islamic Countries and is similiar to Minstrels & Bards in Western Society.
Minstrels performed songs which told stories of distant places or of existing or imaginary historical events. Although minstrels created their own tales, often they would memorize and embellish the works of others. Frequently they were retained by royalty and high society.
As the courts became more sophisticated, minstrels were eventually replaced at court by the troubadours, and many became wandering minstrels, performing in the streets; a decline in their popularity began in the late 15th century.
Popular examples of minstrels include Johann Sebastian Bach who received the title of "Royal Court Composer" which is a Minstrel.
There is an alternative theory to explain the meaning of trobar as "to compose, to discuss, to invent". It has the support of some historians, specialists of literature, and musicologists to justify the troubadours' origins in Arabic Andalusian musical practices.
According to them, the Arabic word ṭaraba "music" (from the triliteral root ṭ–r–b ط ر ب "provoke emotion, excitement, agitation; make music, entertain by singing" as in طرب أندلسي, ṭarab ʾandalusī) could partly be the etymon of the verb trobar.
Another Arabic root had already been proposed before: ḍ–r–b (ض ر ب) "strike", by extension "play a musical instrument". They entertain the possibility that the nearly homophonous ḍ–r–b root may have contributed to the sense of the newly coined Romance verb trobar.
In Africa, the "Griot" is a troubadour, the counterpart of the medieval European minstrel... The griot knows everything that is going on... He is a living archive of the people's traditions... The virtuoso talents of the griots command universal admiration.
This virtuosity is the culmination of long years of study and hard work under the tuition of a teacher who is often a father or uncle. The profession is by no means a male prerogative. There are many women griots whose talents as singers and musicians are equally remarkable.
The griot is a repository of oral tradition and is often seen as a leader due to their position as an advisor to Royal personages. As a result of the former of these two functions, they are sometimes called a bard.
In Celtic cultures, a bard was a professional story teller, verse-maker, music composer, oral historian and genealogist, employed by a patron (such as a Monarch or Noble) to commemorate one or more of the patron's ancestors and to praise the patron's own activities.
Another example are The Baul or Bauls are a group of mystic minstrels or bards of mixed elements of Sufism and Sahaja from Bengal region, comprising Bangladesh and the Indian states of West Bengal, Tripura and Barak Valley of Assam.
Bauls constitute both a syncretic religious sect and a musical tradition. Bauls are a very heterogeneous group, with many sects, but their membership mainly consists of Vaishnava-Sahajiyas and Sufi Muslims.
They can often be identified by their distinctive clothes and musical instruments. Lalon Shah is regarded as the most celebrated Baul saint in history. Their lyrics intertwine a deep sense of mysticism and a longing for oneness with the divine.
Considered as the greatest musician in India, Tansen (1506 - 1589) is instrumental in the creation of the classical music that dominates the north of India. He was considered as one of the Navaratnas (Nine Gems) in the court of Emperor Akbar.
The bulk of Tansen's biography as found in the Akbar court historian accounts and gharana literature consists of miraculous legends. Among the legends about Tansen are stories of his bringing down the rains with Raga Megh Malhar and lighting lamps by performing Raga Deepak.
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