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Post Tagged with: "Project Strands"

 
  • Strand 1: Maqām across the Soviet-Chinese divide 

    Rachel Harris, Giovanni De Zorzi, Mukaddas Mijit This strand aims at “unbordering” Central Asian maqām repertoires across the former Soviet-Chinese divide. It focuses on repertoires canonised in the twentieth century as the separate Uzbek and Tajik Shashmaqām, and the Uyghur Twelve Muqam, and also less recognised regional maqām traditions from Khorezm, Ferghana and Turpan. Since the mid-twentieth century these repertoires have been extensively nationalised, and the overwhelming thrust of scholarship, […]

     
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  • Creative research in Iran / Oct 2024

    Dr. Saeid Kordmafi recently concluded an extensive two-month research in Iran, from October to December 2023. This constituted part of the practice-based strand of the “Maqam Beyond Nation” project. The primary objective of this undertaking was to finalise the composition, arrangement, and refinement of a classical Iranian music suite by Dr. Kordmafi, partly through rehearsing the repertoire with a select ensemble of accomplished Iranian musicians. Composed based on a cross-cultural and […]

     
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  • Field trip in Uzbekistan / Sept 2024

    Dr. Saeid Kordmafi conducted one-month fieldwork from September to October 2023 in Uzbekistan, as an integral component of his engagement in the “Maqam Beyond Nation” project. Delving into the rich musical culture of Central Asia, Dr. Kordmafi travelled to various cities across Uzbekistan, including Bukhara, Samarkand, Fergana, and Tashkent, engaging with esteemed music institutes and master musicians of the venerable traditions of maqam. This field trip was underpinned by a […]

     
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  • Project Strands

    MAQĀM BEYOND NATION is designed in the form of six interlinked research strands based in different contact zones across the maqām world.  Strand 1: Maqām across the Soviet-Chinese divide  Rachel Harris, Giovanni De Zorzi, Mukaddas Mijit This strand aims at “unbordering” Central Asian maqām repertoires across the former Soviet-Chinese divide. It focuses on repertoires canonised in the twentieth century as the separate Uzbek and Tajik Shashmaqām, and the Uyghur Twelve […]

     
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