Trim: 6½ x 9½
978-0-7391-7211-7 • Hardback • January 2012 • $142.00 • (£109.00)
978-0-7391-7212-4 • eBook • January 2012 • $134.50 • (£98.00)
Rob Simms is a multi-instrumentalist and author of The Repertoire of Iraqi Maqam and co-author (with Amir Koushkani) of The Avaz of Mohammad Reza Shajarian in Iran and Beyond, 1979-2000. He is associate professor of music at York University in Toronto.
Amir Koushkani is a performer (solo and in collaboration with other musicians), composer, arranger, and instructor of the traditional Persian stringed instruments tar and setar. He is a Ph.D candidate in ethnomusicology at York University in Toronto.
Chapter 1: Before Coming In (Pishdaramad)
Chapter 2: Mashhad Roots
Chapter 3: To Tehran
Chapter 4: Performing Avaz
About the Authors
This book is a welcome addition to the literature, presenting the narrative of Iranian classical music through the life and music of one of its foremost practitioners. Simms and Koushkani have adopted a novel approach, presenting extended sections in Shajarian’s own ‘voice’ and weaving this into the scholarly exegesis to create an artful polyphony.
— Laudan Nooshin, City University London
The Art of Avaz and Mohammad Reza Shajarian is an indispensable scientific work for gaining a deeper understanding of the relationship between song, poetry, and vocal art, regardless of culture. It is a captivating means of accessing Persian culture through one of its most eminent representatives, who has dedicated his life to the cult of beauty and engaged in the defense of human values. The rigor and the richness of Simms’ and Koushkani’s method, which contributes techniques for future publications, rests on a 'trialogue' between an exceptional master, a chosen disciple, and a fine connoisseur. Throughout the pages, these three roles merge to weave a passionate story, rich in teachings.
— Jean During, French National Center for Scientific Research
This is a significant work not only for those interested in Persian music but also for those wishing to understand the culture of Iran in the last one hundred years, and for music scholars focusing on a world perspective of improvisation, musical education, and culture change. As a long-time student of Persian music, I very much welcome this excellent addition to the literature.
— Bruno Nettl, University of Illinois