Owen Wright – författare
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6 produkter
6 produkter
656 kr
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The Safavid era (1501–1722) is one of the most important in the history of Persian culture, celebrated especially for its architecture and art, including miniature paintings that frequently represent singers and instrumentalists. Their presence reflects a sophisticated tradition of music making that was an integral part of court life, yet it is one that remains little known, for the musicological literature of the period is rather thin. There is, however, a significant exception: the text presented and analysed here, a hitherto unpublished and anonymous theoretical work probably of the middle of the sixteenth century. With a Sufi background inspiring the use of the nay as a tool of theoretical demonstration, it is exceptional in presenting descriptive accounts of the modes then in use and suggesting how these might be arranged in complex sequences. As it also gives an account of the corpus of rhythmic cycles it provides a unique insight into the basic structures of art-music during the first century of Safavid rule.
2 264 kr
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The substantial collection of notations of seventeenth-century Ottoman instrumental music made by Demetrius Cantemir is both a record of compositions of considerable intrinsic interest and a historical document of vital importance, representing as it does one of the most comprehensive accounts of any Middle Eastern repertoire before the widespread adoption of Western notation in the twentieth century. This volume contains a commentary to the edition of Cantemir's notations prepared by the same author. The introductory section provides a context for the collection, giving a biographical sketch of its compiler and relating it to the theoretical treatise it accompanies. This is followed by a substantial analysis of modal structures which examines each makam individually and then attempts to make progressively wider generalizations. The projection of melody onto the various rhythmic cycles is next examined, with particular attention being paid to the various formulaic elements which constitute much of the compositional language of the period. A final section shifts to a more diachronic perspective, surveying internal evidence for historical change and for the survival of earlier styles.
2 193 kr
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In this book Owen Wright analyses a single recording of classical Persian music made by Touraj Kiaras, a distinguished singer, accompanied by four noted instrumentalists. The format of the recording is typical of a public concert performance, and thus includes instrumental compositions as well as a central exploration of vocal repertoire and technique. The analysis identifies salient structural features, whether of the individual components or of the whole, in a way accessible to the western reader, but it also takes account of the analytical metalanguage used in Persian scholarship, and includes consideration of the relationship between music and poetry. It is important to note that it is also guided by the perceptions of the performer, whose input and responses to questions have significantly influenced the enterprise. To avoid the dryly impersonal, the analysis is also framed by an introduction which combines a biographical sketch of Touraj Kiaras with a survey of the twentieth-century evolution of Persian classical music and of the position of the vocal repertoire within it, and by an epilogue which examines further the ideological basis of prevalent attitudes to music, and seeks to explore the validity of the analytical enterprise within this context.
2 334 kr
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The Safavid era (1501–1722) is one of the most important in the history of Persian culture, celebrated especially for its architecture and art, including miniature paintings that frequently represent singers and instrumentalists. Their presence reflects a sophisticated tradition of music making that was an integral part of court life, yet it is one that remains little known, for the musicological literature of the period is rather thin. There is, however, a significant exception: the text presented and analysed here, a hitherto unpublished and anonymous theoretical work probably of the middle of the sixteenth century. With a Sufi background inspiring the use of the nay as a tool of theoretical demonstration, it is exceptional in presenting descriptive accounts of the modes then in use and suggesting how these might be arranged in complex sequences. As it also gives an account of the corpus of rhythmic cycles it provides a unique insight into the basic structures of art-music during the first century of Safavid rule.
Music Theory in Mamluk Cairo
The ġāyat al-maṭlūb fī ‘ilm al-adwār wa-’l-ḍurūb by Ibn Kurr
Inbunden, Engelska, 2014
2 268 kr
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The ġāyat al-maṭlūb fī ‘ilm al-adwār wa-'l-ḍurūb by Ibn Kurr is the only theoretical text of any substance that can be considered representative of musicological discourse in Cairo during the first half of the fourteenth century CE. Indeed, nothing comparable survives from the whole Mamluk period, which extends from 1260 until the Ottoman invasion and conquest of Egypt in 1516. But its value does not derive merely from its fortuitous isolation: it is important, rather, because of the richness of the information it provides with regard to modal and rhythmic structures, and also because of the extent to which the definitions it offers differ from those set forth in an interrelated series of major theoretical works in both Arabic and Persian that span the period from the middle of the thirteenth century to the late fifteenth. Alongside the presumption of transregional uniformity these texts suggest, it consequently asserts the significance of local particularism.Owen Wright provides a critical edition of the text itself, together with a glossary, prefaced by an introduction and a detailed commentary and analysis. The introduction provides immediate context, situating the work in relation to the dominant theoretical tradition of the period and providing biographical information about the author, active in Cairo during the first half of the fourteenth century.
243 kr
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The gut-wrenching story of how one of Australia’s finest surfers overcame a brain injury and despair to win an Olympic medal.On the morning of 10 December 2015, Owen Wright entered the water at Pipeline, Hawaii, determined to become a world champion surfer. But after being pounded by a set of monstrous waves, he ended up fighting for life and facing extensive brain trauma. In this inspirational memoir, Wright chronicles the events leading up to that fateful day, as well as the months and years that followed as he battled to regain basic functioning, and eventually the capacity to compete again at the apex of surfing.Against the Water carries the reader back to Wright’s boyhood in the tiny town of Culburra, where his father, determined to raise champions, turned family life into a kind of boot camp. While eccentric, his father’s methods bore fruit: the Wrights of Culburra would become Australian surfing royalty. Owen’s story lays bare the complex relationship with his father – the adoration, the fight for independence, the fallings out, and the reconciliations.Told in a spare, intimate style, Against the Water is the moving account of an athlete who refused to accept that his best days were behind him and raises fundamental questions around family and competition. What, ultimately, is our duty to our children? At what point does bravery become folly? And how much should we sacrifice for the sake of another?‘Owen was a childhood phenom who grew into the ultimate family man. In between this transition, he took on the world, charged crazy waves, suffered a huge brain injury, and finished off with the all-time sporting comeback!’ Mick Fanning, three-time world champion surfer ‘Whatever it is that Owen is getting himself into, he seems to do it with little to no fear and a massive smile on his face. He’s an inspirational guy, to put it lightly. Owen is one special human!’ Liam Hemsworth, actor ‘Owen Wright has to be the most inspiring person I’ve ever met. His story is one of a childhood prodigy, to facing a near-death experience, to Australian hero . . . This book will inspire and motivate anyone who has hadto face adversity whilst following their dreams.’ Kita Alexander, singer-songwriter ‘[A] true fighter’s spirit!' Luke Rockhold, UFC middleweight champion, two-time jiu-jitsu world champion, three-time strikeforce middleweight champion