Klasik
The classical Amir Sher Ali Khan.[2]
These north Indian musicians use
An important characteristic of the Afghan ghazal is that, unlike the Indian
Pashtun music.[2]
Afghan ghazal is viewed as a "light-classical" form of
Hafez.[2]
See also
- Ustad Mohammad Omar
Notes
- ^ a b Doubleday, pg. 3
- ^ a b c Mikalina
- ^ Doubleday, pg. 3Many of the Kabuli professional 'master musicians' (known as ustad) are directly descended from musicians who came from India to play at the Afghan court in the 1860s. They maintain cultural and personal ties with India -- through discipleship or inter-marriage -- and they use the Hindustani musical theories and terminology, for example raga (melodic form) and tala (rhythmic cycle). (all emphasis in original)
References
- Baily, John. "Music of Afghanistan: Professional Musicians in the City of Herat". 1988. Cambridge: Cambridge University Press. ISBN 0-521-25000-5
- Baily, John. "The naghma-ye kashal of Afghanistan". 1997. British Journal of Ethnomusicology, Vol. 6, pp 117โ163.
- Baily, John. "A System of Modes Used in the Urban Music of Afghanistan". Ethnomusicology, Vol. 25, No 1, pp 1โ39.
- Doubleday, Veronica. "Red Light at the Crossroads". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 3โ8. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
- "Afghan Music Before the War". Mikalina. Archived from the original on November 4, 2005. Retrieved August 27, 2005.
