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profession of the musician in the Bahá'í religion. Certainly in his performance, his teaching, and his transformation of the radif Mirza 'Abdu'lláh followed these exhortations and was able to greatly influence future generations of musicians. His work enabled
Persian music to prosper on a strong foundation, making him a major figure in the revival of art and culture that sprang out of nineteenth century Iran.
200:, and mystical orders, was certainly an influence on his openness, his generosity, and his desire to broaden the basis of the musical tradition, both in content and practice. His reputation for tolerance, patience, generosity, spirituality, and modesty is regarded by present-day artists as a model for the true musician. The correspondence he received from
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were among his students. Mírzá 'Abdu'lláh was one of the most influential masters of
Persian classical music. Because of his desire to collect and assemble a large repertoire of traditional pieces, and because of his generosity of spirit, and his willingness to teach others, the particular rendition
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suggested the preservation and expansion of the classical musical tradition, urged the uplifting of that tradition from its preoccupation with themes of suffering, sadness and regret to those of hope, reunion, and spiritual joy, and unambiguously legitimized the musical tradition of Iran and the
310:
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264:. Studies in Babi and Baha'i History: From Iran East and West. Vol. 2 (illustrated ed.). Kalimat Press. p. 62.
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of
Persian music he collected has become the most widely known and the most practiced among contemporary Persian musicians.
396:
386:
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350:, "Studies in Babi and Baha'i History, Vol II: From Iran East & West," Kalimat Press, 1984, pp. 30–64.
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Baha'i
Influences on Mirza Abdollah, Qajar Court Musician and Master of the Radif.
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Maneck, Susan Stiles (1984). Cole, Juan R. I.; Momen, Moojan (eds.).
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34:
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50:
261:
Iran East and West: Studies in Babi and Baha'i
History
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297:, Iranian academy for the Arts, Iran, Tehran, 2011
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133:, also known as Agha Mirza Abdollah Farahani (
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161:started learning music from their father
149:player. He is among the most significant
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180:and for his fruitful music lessons.
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97:Radif of Persian Traditional Music
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318:; Matringe, Denis; Nawas, John;
165:who was a well-known musician.
33:
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407:20th-century Iranian musicians
402:19th-century Iranian musicians
326:(3rd ed.). Brill Online.
1:
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157:, he and his younger brother
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397:Iranian classical musicians
153:in Iran's history. Born in
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196:His association with the
168:He is best known for his
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387:Iranian music educators
324:Encyclopaedia of Islam
308:Blum, Stephen (2007).
392:Musicians from Tehran
377:Iranian setar players
141:) (1843–1918), was a
139:میرزا عبدالله فراهانی
412:People of Qajar Iran
382:Iranian tar players
159:Mirza Hossein Gholi
314:. In Fleet, Kate;
311:"ʿAbdallāh, Mīrzā"
186:Esmaeil Ghahremani
163:Ali Akbar Farahani
121:Ali-Akbar Farahani
338:Caton, Margaret.
271:978-0-933770-40-9
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292:Vahraz PourAhmad
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27:میرزا عبدالله
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348:Moojan Momen
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302:Bibliography
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219:Darvish Khan
202:`Abdu'l-Bahá
198:Bahá'í faith
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372:1918 deaths
367:1843 births
229:Ahmad Ebadi
111:Javad Ebadi
107:Ahmad Ebadi
361:Categories
240:References
344:Juan Cole
332:1873-9830
151:musicians
322:(eds.).
103:Children
78:Musician
135:Persian
346:&
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155:Shiraz
117:Parent
88:Player
63:Tehran
47:Tehran
178:setar
170:radif
147:setar
86:Setar
328:ISSN
266:ISBN
188:and
176:and
172:for
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84:and
67:Iran
58:Died
51:Iran
42:Born
342:In
174:tar
143:tar
82:Tar
363::
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