Nagisa (harpist): Difference between revisions
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She collaborated with ''[[Barbad]]''<ref name="Ridgeon2005"/> on her famous septet piece, the ''Royal Khosrowvani'' (سرود خسروانى). The main themes of her songs were in praise of King [[Khosrau II]]. She also composed the national anthem of the time. |
She collaborated with ''[[Barbad]]''<ref name="Ridgeon2005"/> on her famous septet piece, the ''Royal Khosrowvani'' (سرود خسروانى). The main themes of her songs were in praise of King [[Khosrau II]]. She also composed the national anthem of the time. |
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Music flourished during the ''[[Sassanid]]'' dynasty because many rulers were patrons of art and some were even artists. Under the ''Sassanids'', poetry, singing, music, and art grew extremely popular, and many patrons such as ''[[Khosrow Parviz]]'' and ''[[Ardeshir]]'' protected and promoted musicians. Several musicians, like ''Ramtin'', [[Bamshad]], [[Barbad]], and ''Nagisa'' became masterful to an extent that their influences surpassed their own time. ''Barbad'' and ''Nagisa'' greatly influenced and contributed to the Persian musical system, [[Khosrowvani]].<ref name="DanielMahdī2006">{{cite book|author1=Elton L. Daniel|author2=ʻAlī Akbar Mahdī|title=Culture and Customs of Iran|url=https://books.google.com/books?id=8ZIjyEi1pd8C&pg=PA196|accessdate=24 August 2013|year=2006|publisher=Greenwood Publishing Group|isbn=978-0-313-32053-8|pages=196–}}</ref> Accounts say that once Nakisa's audience was so moved by her performance that they passed out, or tore their garments (''jame-daran'').<ref name="Miller2012">{{cite book|author=Lloyd Miller|title=Music and Song in Persia (RLE Iran B): The Art of Avaz|url=https://books.google.com/books?id=zfr1odMhpUsC&pg=PA19|accessdate=24 August 2013|date=4 May 2012|publisher=Routledge|isbn=978-1-136-81487-7|pages=19–}}</ref> |
Music flourished during the ''[[Sassanid]]'' dynasty because many rulers were patrons of art and some were even artists. Under the ''Sassanids'', poetry, singing, music, and art grew extremely popular, and many patrons such as ''[[Khosrow Parviz]]'' and ''[[Ardeshir]]''{{dn}} protected and promoted musicians. Several musicians, like ''Ramtin'', [[Bamshad]], [[Barbad]], and ''Nagisa'' became masterful to an extent that their influences surpassed their own time. ''Barbad'' and ''Nagisa'' greatly influenced and contributed to the Persian musical system, [[Khosrowvani]].<ref name="DanielMahdī2006">{{cite book|author1=Elton L. Daniel|author2=ʻAlī Akbar Mahdī|title=Culture and Customs of Iran|url=https://books.google.com/books?id=8ZIjyEi1pd8C&pg=PA196|accessdate=24 August 2013|year=2006|publisher=Greenwood Publishing Group|isbn=978-0-313-32053-8|pages=196–}}</ref> Accounts say that once Nakisa's audience was so moved by her performance that they passed out, or tore their garments (''jame-daran'').<ref name="Miller2012">{{cite book|author=Lloyd Miller|title=Music and Song in Persia (RLE Iran B): The Art of Avaz|url=https://books.google.com/books?id=zfr1odMhpUsC&pg=PA19|accessdate=24 August 2013|date=4 May 2012|publisher=Routledge|isbn=978-1-136-81487-7|pages=19–}}</ref> |
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==See also== |
==See also== |
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Revision as of 08:43, 8 July 2015
Nagisa (from Persian negin ["jewel"],(Negin-Sa) [ This combination exists in other female Iranian names like : "Pari-Sa", "Mehr-Sa", "Gol-Sa", "Rokh-Sa" (Roxanne in English) ] alternately Nakisa[1]) was a master harpist and composer of the royal court of King Khosrau II of Persia (died 628 AD).[2]
She collaborated with Barbad[2] on her famous septet piece, the Royal Khosrowvani (سرود خسروانى). The main themes of her songs were in praise of King Khosrau II. She also composed the national anthem of the time.
Music flourished during the Sassanid dynasty because many rulers were patrons of art and some were even artists. Under the Sassanids, poetry, singing, music, and art grew extremely popular, and many patrons such as Khosrow Parviz and Ardeshir[disambiguation needed] protected and promoted musicians. Several musicians, like Ramtin, Bamshad, Barbad, and Nagisa became masterful to an extent that their influences surpassed their own time. Barbad and Nagisa greatly influenced and contributed to the Persian musical system, Khosrowvani.[3] Accounts say that once Nakisa's audience was so moved by her performance that they passed out, or tore their garments (jame-daran).[4]
See also
Sources
- ^ Fereshteh Davaran (26 February 2010). Continuity in Iranian Identity: Resilience of a Cultural Heritage. Routledge. pp. 100–. ISBN 978-0-203-88630-4. Retrieved 24 August 2013.
- ^ a b Lloyd Ridgeon (2 December 2005). Religion and Politics in Modern Iran: A Reader. I.B.Tauris. pp. 174–. ISBN 978-1-84511-073-4. Retrieved 24 August 2013.
- ^ Elton L. Daniel; ʻAlī Akbar Mahdī (2006). Culture and Customs of Iran. Greenwood Publishing Group. pp. 196–. ISBN 978-0-313-32053-8. Retrieved 24 August 2013.
- ^ Lloyd Miller (4 May 2012). Music and Song in Persia (RLE Iran B): The Art of Avaz. Routledge. pp. 19–. ISBN 978-1-136-81487-7. Retrieved 24 August 2013.
- Kamran Talattof; Jerome W. Clinton; K. Allin Luther (2000). The Poetry of Nizami Ganjavi: Knowledge, Love, and Rhetoric. Palgrave Macmillan. pp. 164–. ISBN 978-0-312-22810-1. Retrieved 24 August 2013.
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