The Hazaras are an ethnic group native to the mountainous region of Hazarajat in central Afghanistan, speaking the Hazaragi variant of Dari, itself an eastern variety of Persian, one of the two official languages of Afghanistan. They are the third-largest ethnic group in Afghanistan, they make up a significant minority group in the neighboring Pakistan, with a population of over 650,000–900,000 living in the region of Quetta. Babur, founder of the Mughal Empire in the early 16th century, records the name Hazara in his autobiography, he referred to the populace of a region called Hazaristan, located west of the Kabulistan region, north of Ghazna, southwest of Ghor. The conventional theory is that the name Hazara derives from the Persian word for "thousand", it may be the translation of the Mongol word ming, a military unit of 1,000 soldiers at the time of Genghis Khan. With time, the term Hazar could have been substituted for the Mongol word and now stands for the group of people, while the Hazaras in their native language always call themselves and.
The origins of the Hazara have not been reconstructed. Significant inner Asian descent—in historical context and Mongol—is impossible to rule out because the Hazara's physical attributes, facial bone structures and parts of their culture and language resemble those of Mongolians and Central Asian Turks. Genetic analysis of the Hazara indicate partial Mongolian ancestry. Invading Mongols and Turco-Mongols mixed with the local Iranian population, forming a distinct group. For example, Nikudari Mongols settled in what is now Afghanistan and mixed with native populations who spoke Dari Persian. A second wave of Chagatai Mongols came from Central Asia and were followed by other Mongolic groups, associated with the Ilkhanate and the Timurids, all of whom settled in Hazarajat and mixed with the local Dari-speaking population, forming a distinct group; the Hazara identity in Afghanistan is believed by many to have originated in the aftermath of the 1221 Siege of Bamyan. The first mention of Hazara are made by Babur in the early 16th century and by the court historians of Shah Abbas of the Safavid dynasty.
It is reported that they embraced Shia Islam between the end of the 16th and the beginning of the 17th century, during the Safavid period. Hazara men along with tribes of other ethnic groups had been recruited and added to the army of Ahmad Shah Durrani in the 18th century; some claim that in the mid‑18th century Hazara were forced out of Helmand and the Arghandab District of Kandahar Province. During the second reign of Dost Mohammad Khan in the 19th century, Hazara from Hazarajat began to be taxed for the first time. However, for the most part they still managed to keep their regional autonomy until the subjugation of Abdur Rahman Khan began in the late 19th century; when the Treaty of Gandomak was signed and the Second Anglo-Afghan War ended in 1880, Abdur Rahman Khan set out a goal to bring Hazarajat and Kafiristan under his control. He launched several campaigns in Hazarajat due to resistance from the Hazara in which his forces committed atrocities; the southern part of Hazarajat was spared as they accepted his rule, while the other parts of Hazarajat rejected Abdur Rahman and instead supported his uncle, Sher Ali Khan.
In response to this Abdur Rahman waged a war against tribal leaders who rejected his policies and rule. Abdur Rahman arrested Syed Jafar, chief of the Sheikh Ali Hazara tribe, jailed him in Mazar-i-Sharif; the 1888–1893 Uprisings of Hazaras occurred when the Treaty of Gandomak was signed and the Second Anglo-Afghan War ended in 1880, causing Abdur Rahman Khan to set out on a goal to bring Hazarajat and Kafiristan under his control. He launched several campaigns in Hazarajat due to resistance from the Hazara in which his forces committed atrocities; the southern part of Hazarajat was spared as they accepted his rule, while the other parts of Hazarajat rejected Abdur Rahman and instead supported his uncle, Sher Ali Khan. In response to this Abdur Rahman waged a war against tribal leaders who rejected his policies and rule. Abdur Rahman arrested Syed Jafar, chief of the Sheikh Ali Hazara tribe, jailed him in Mazar-i-Sharif; these campaigns had a catastrophic impact on the demographics of Hazaras causing 60% of them to perish or become displaced.
In 1901, Habibullah Khan, Abdur Rahman's successor, granted amnesty to all people who were exiled by his predecessor. However, the division between the Afghan government and the Hazara people was made too deep under Abdur Rahman. Hazara continued to face severe social and political discrimination through most of the 20th century. In 1933 King Mohammed Nadir Khan was assassinated by Abdul Khaliq Hazara; the Afghan government captured and executed him along with several of his innocent family members. Mistrust of the central government by the Hazaras and local uprisings continued. In particular, in the 1940s, during Zahir Shah's rule, a revolt took place against new taxes that were imposed on the Hazara; the Kuchi nomads meanwhile not only were exempted from taxes, but received allowances from the Afghan government. The angry rebels began killing government officials. In response, the central government sent a force to subdue the region and removed the taxes. During the Soviet–Afghan War, the Hazarajat region did not see as much heavy fighting as other regions of Afghanistan.
However, rival Hazara political factions fought. The division was between the Tanzáim-i nasl-i naw-i Hazara, a party based in Quetta, of Hazara nationalists and secular intellectuals, the pro-Khomeini Islamist parties backed by the new Islamic Republic of Iran. By 1979, the Iran-backed Islamist groups liberated
Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid-1950s. The terms "popular music" and "pop music" are used interchangeably, although the former describes all music, popular and includes many diverse styles. "Pop" and "rock" were synonymous terms until the late 1960s, when they became differentiated from each other. Although much of the music that appears on record charts is seen as pop music, the genre is distinguished from chart music. Pop music is eclectic, borrows elements from other styles such as urban, rock and country. Identifying factors include short to medium-length songs written in a basic format, as well as common use of repeated choruses, melodic tunes, hooks. David Hatch and Stephen Millward define pop music as "a body of music, distinguishable from popular and folk musics". According to Pete Seeger, pop music is "professional music which draws upon both folk music and fine arts music". Although pop music is seen as just the singles charts, it is not the sum of all chart music.
The music charts contain songs from a variety of sources, including classical, jazz and novelty songs. As a genre, pop music is seen to develop separately. Therefore, the term "pop music" may be used to describe a distinct genre, designed to appeal to all characterized as "instant singles-based music aimed at teenagers" in contrast to rock music as "album-based music for adults". Pop music continuously evolves along with the term's definition. According to music writer Bill Lamb, popular music is defined as "the music since industrialization in the 1800s, most in line with the tastes and interests of the urban middle class." The term "pop song" was first used in 1926, in the sense of a piece of music "having popular appeal". Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country and hillbilly music. According to the website of The New Grove Dictionary of Music and Musicians, the term "pop music" "originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced".
The Oxford Dictionary of Music states that while pop's "earlier meaning meant concerts appealing to a wide audience since the late 1950s, pop has had the special meaning of non-classical mus in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc." Grove Music Online states that " in the early 1960s,'pop music' competed terminologically with beat music, while in the US its coverage overlapped with that of'rock and roll'". From about 1967, the term “pop music” was used in opposition to the term rock music, a division that gave generic significance to both terms. While rock aspired to authenticity and an expansion of the possibilities of popular music, pop was more commercial and accessible. According to British musicologist Simon Frith, pop music is produced "as a matter of enterprise not art", is "designed to appeal to everyone" but "doesn't come from any particular place or mark off any particular taste". Frith adds that it is "not driven by any significant ambition except profit and commercial reward and, in musical terms, it is conservative".
It is, "provided from on high rather than being made from below... Pop is not a do-it-yourself music but is professionally produced and packaged". According to Frith, characteristics of pop music include an aim of appealing to a general audience, rather than to a particular sub-culture or ideology, an emphasis on craftsmanship rather than formal "artistic" qualities. Music scholar Timothy Warner said it has an emphasis on recording and technology, rather than live performance; the main medium of pop music is the song between two and a half and three and a half minutes in length marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure. Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, a chorus that contrasts melodically and harmonically with the verse; the beat and the melodies tend to be simple, with limited harmonic accompaniment. The lyrics of modern pop songs focus on simple themes – love and romantic relationships – although there are notable exceptions.
Harmony and chord progressions in pop music are "that of classical European tonality, only more simple-minded." Clichés include the barbershop quartet-style blues scale-influenced harmony. There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function. Throughout its development, pop music has absorbed influences from other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, spoken passages from rap. In the 1960s, the majority of mainstream pop music fell in two categories: guitar and bass groups or singers
A keyboard instrument is a musical instrument played using a keyboard, a row of levers which are pressed by the fingers. The most common of these are the piano and various electronic keyboards, including synthesizers and digital pianos. Other keyboard instruments include celestas, which are struck idiophones operated by a keyboard, carillons, which are housed in bell towers or belfries of churches or municipal buildings. Today, the term keyboard refers to keyboard-style synthesizers. Under the fingers of a sensitive performer, the keyboard may be used to control dynamics, shading and other elements of expression—depending on the design and inherent capabilities of the instrument. Another important use of the word keyboard is in historical musicology, where it means an instrument whose identity cannot be established. In the 18th century, the harpsichord, the clavichord, the early piano were in competition, the same piece might be played on more than one. Hence, in a phrase such as "Mozart excelled as a keyboard player," the word keyboard is all-inclusive.
The earliest known keyboard instrument was the Ancient Greek hydraulis, a type of pipe organ, invented in the third century BC. The keys were balanced and could be played with a light touch, as is clear from the reference in a Latin poem by Claudian, who says magna levi detrudens murmura tactu... intent, “let him thunder forth as he presses out mighty roarings with a light touch”. From its invention until the fourteenth century, the organ remained the only keyboard instrument; the organ did not feature a keyboard at all, but rather buttons or large levers operated by a whole hand. Every keyboard until the fifteenth century had seven naturals to each octave; the clavichord and the harpsichord appeared during the fourteenth century—the clavichord being earlier. The harpsichord and clavichord were both common until widespread adoption of the piano in the eighteenth century, after which their popularity decreased; the piano was revolutionary because a pianist could vary the volume of the sound by varying the vigor with which each key was struck.
The piano's full name is gravicèmbalo con piano e forte meaning harpsichord with soft and loud but can be shortened to piano-forte, which means soft-loud in Italian. In its current form, the piano is a product of the late nineteenth century, is far removed in both sound and appearance from the "pianos" known to Mozart and Beethoven. In fact, the modern piano is different from the 19th-century pianos used by Liszt and Brahms. See Piano history and musical performance. Keyboard instruments were further developed in the early twentieth century. Early electromechanical instruments, such as the Ondes Martenot, appeared early in the century; this was a important contribution to the keyboard's history. Much effort has gone into creating an instrument that sounds like the piano but lacks its size and weight; the electric piano and electronic piano were early efforts that, while useful instruments in their own right, did not convincingly reproduce the timbre of the piano. Electric and electronic organs were developed during the same period.
More recent electronic keyboard designs strive to emulate the sound of specific make and model pianos using digital samples and computer models. Each acoustic keyboard contains 88 keys. Weighted keys, found on electronic keyboards, are designed to simulate the resistance of a key on an acoustic keyboard, via pressurization. There are 4 types of weighted keys. Keybeds, or non-weighted keys place the weights within the base of the keyboard; the second type, Semi-weighted uses springs, the third type is hammer keys. Most electronic keyboards use the fourth type: graded simulate keys. Weighted keys are made of wood, or metal/wood substitute. Enharmonic keyboard Musical instrument Orchestrina di camera Piano Symphony Young, Percy M. Keyboard Musicians of the World. London: Abelard-Schuman, 1967. N. B.: Concerns celebrated keyboard players and the various such instruments used over the centuries. ISBN 0-200-71497-X The general keyboard in the age of MIDI Renaissance Keyboards on the Heilbrunn Timeline of Art History, The Metropolitan Museum of Art The Pianofortes of Bartolomeo Cristofori on the Heilbrunn Timeline of Art History, The Metropolitan Museum of Art
Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, a variety of vocal techniques. A person who sings is called a vocalist. Singers perform music that can be sung without accompaniment by musical instruments. Singing is done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, blues and popular music styles such as pop, electronic dance music and filmi. Singing arranged or improvised, it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a profession. Excellence in singing requires time, dedication and regular practice.
If practice is done on a regular basis the sounds can become more clear and strong. Professional singers build their careers around one specific musical genre, such as classical or rock, although there are singers with crossover success, they take voice training provided by voice teachers or vocal coaches throughout their careers. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals and sternocleidomastoid muscles; the pitch is altered with the vocal cords. With the lips closed, this is called humming; the sound of each individual's singing voice is unique not only because of the actual shape and size of an individual's vocal cords but due to the size and shape of the rest of that person's body.
Humans have vocal folds which can loosen, tighten, or change their thickness, over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, timbre, or tone of the sound produced. Sound resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual. Singers can learn to project sound in certain ways so that it resonates better within their vocal tract; this is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds; these different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, it has been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa.
The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds. Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, possessing the same quality. Registers originate in laryngeal function, they occur. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds; the occurrence of registers has been attributed to effects of the acoustic interaction between the vocal fold oscillation and the vocal tract. The term "register" can be somewhat confusing; the term register can be used to refer to any of the following: A particular part of the vocal range such as the upper, middle, or lower registers. A resonance area such as chest voice or head voice. A phonatory process A certain vocal timbre or vocal "color" A region of the voice, defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology, the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, the whistle register; this view is adopted by many vocal pedagogues. Vocal resonation is the process by which the basic product of phonation is en
A refugee speaking, is a displaced person, forced to cross national boundaries and who cannot return home safely. Such a person may be called an asylum seeker until granted refugee status by the contracting state or the UNHCR if they formally make a claim for asylum; the lead international agency coordinating refugee protection is the United Nations Office of the United Nations High Commissioner for Refugees. The United Nations have a second Office for refugees, the UNRWA, responsible for supporting the large majority of Palestinian refugees. Although similar terms in other languages have described an event marking large scale migration of a specific population from a place of origin, such as the biblical account of Israelites fleeing from Assyrian conquest, in English, the term refugee derives from the root word refuge, from Old French refuge, meaning "hiding place", it refers to "shelter or protection from danger or distress", from Latin fugere, "to flee", refugium, "a taking refuge, place to flee back to".
In Western history, the term was first applied to French Huguenots, after the Edict of Fontainebleau, who again migrated from France after the Edict of Nantes revocation. The word meant "one seeking asylum", until around 1914, when it evolved to mean "one fleeing home", applied in this instance to civilians in Flanders heading west to escape fighting in World War I; the first modern definition of international refugee status came about under the League of Nations in 1921 from the Commission for Refugees. Following World War II, in response to the large numbers of people fleeing Eastern Europe, the UN 1951 Refugee Convention adopted the following definition of "refugee" to apply to any person who: "owing to well-founded fear of being persecuted for reasons of race, nationality, membership of a particular social group or political opinion, is outside the country of his nationality and is unable or, owing to such fear, is unwilling to avail himself of the protection of that country. In 1967, this legal concept was expanded by the UN Protocol Relating to the Status of Refugees.
The Convention Governing the Specific Aspects of Refugee Problems in Africa expanded the 1951 definition, which the Organization of African Unity adopted in 1969:"Every person who, owing to external aggression, foreign domination or events disturbing public order in either part or the whole of his country of origin or nationality, is compelled to leave his place of habitual residence in order to seek refuge in another place outside his country of origin or nationality." The 1984 regional, non-binding Latin-American Cartagena Declaration on Refugees includes: "persons who have fled their country because their lives, safety or freedom have been threatened by generalized violence, foreign aggression, internal conflicts, massive violation of human rights or other circumstances which have disturbed public order." As of 2011, the UNHCR itself, in addition to the 1951 definition, recognizes persons as refugees: "who are outside their country of nationality or habitual residence and unable to return there owing to serious and indiscriminate threats to life, physical integrity or freedom resulting from generalized violence or events disturbing public order."
European Union's minimum standards definition of refugee, underlined by Art. 2 of Directive No. 2004/83/EC reproduces the narrow definition of refugee offered by the UN 1951 Convention. The same form of protection is foreseen for displaced people who, without being refugees, are exposed, if returned to their countries of origin, to death penalty, torture or other inhuman or degrading treatments; the idea that a person who sought sanctuary in a holy place could not be harmed without inviting divine retribution was familiar to the ancient Greeks and ancient Egyptians. However, the right to seek asylum in a church or other holy place was first codified in law by King Æthelberht of Kent in about AD 600. Similar laws were implemented throughout Europe in the Middle Ages; the related concept of political exile has a long history: Ovid was sent to Tomis. By the 1648 Peace of Westphalia, nations recognized each other's sovereignty. However, it was not until the advent of romantic nationalism in late 18th-century Europe that nationalism gained sufficient prevalence for the phrase country of nationality to become meaningful, for border crossing to require that people provide identification.
The term "refugee" sometime applies to people who might fit the definition outlined by the 1951 Convention, were it applied retroactively. There are many candidates. For example, after the Edict of Fontainebleau in 1685 outlawed Protestantism in France, hundreds of thousands of Huguenots fled to England, the Netherlands, South Africa and Prussia; the repeated waves of pogroms that swept Eastern Europe in the 19th and early 20th centuries prompted mass Jewish emigration. Beginning in the 19th century, Muslim people emigrated to Turkey from Europe; the Balkan Wars of 1912–1913 caused 800,000 people to leave their homes. Various groups of people were designated refugees beginning in World War I; the fir
Sarwar Sarkhosh was a singer and one of the Hazara nationalists in Afghanistan. He is the elder brother of a famous singer of the Hazara people. Sarwar Sarkhosh was born in Daykundi, Afghanistan, he completed his secondary education in his home town. In the same years, with the imprisonment of his father due to ethnic prejudice against the Hazaras, the family's responsibility fell on him because he was the eldest son of his family, in this reason he was not able to continue his studies. In 1983 he traveled from his hometown Uruzgan to Badghis and visited some Hazara people there, after returning from the trip on 1983 he was killed in a terrorist operation. Dawood Sarkhosh sarwarsarkhosh.com soundcloud.com/azergi/Sarwar Sarkhosh
Folk music includes traditional folk music and the genre that evolved from it during the 20th-century folk revival. Some types of folk music may be called world music. Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, or music performed by custom over a long period of time, it has been contrasted with classical styles. The term originated in the 19th century. Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk music; this process and period is reached a zenith in the 1960s. This form of music is sometimes called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times, but the term folk music has not been applied to the new music created during those revivals; this type of folk music includes fusion genres such as folk rock, folk metal, others. While contemporary folk music is a genre distinct from traditional folk music, in U.
S. English it shares the same name, it shares the same performers and venues as traditional folk music; the terms folk music, folk song, folk dance are comparatively recent expressions. They are extensions of the term folklore, coined in 1846 by the English antiquarian William Thoms to describe "the traditions and superstitions of the uncultured classes"; the term further derives from the German expression volk, in the sense of "the people as a whole" as applied to popular and national music by Johann Gottfried Herder and the German Romantics over half a century earlier. Though it is understood that folk music is music of the people, observers find a more precise definition to be elusive; some do not agree that the term folk music should be used. Folk music may tend to have certain characteristics but it cannot be differentiated in purely musical terms. One meaning given is that of "old songs, with no known composers", another is that of music, submitted to an evolutionary "process of oral transmission....
The fashioning and re-fashioning of the music by the community that give it its folk character". Such definitions depend upon " processes rather than abstract musical types...", upon "continuity and oral transmission...seen as characterizing one side of a cultural dichotomy, the other side of, found not only in the lower layers of feudal and some oriental societies but in'primitive' societies and in parts of'popular cultures'". One used definition is "Folk music is what the people sing". For Scholes, as well as for Cecil Sharp and Béla Bartók, there was a sense of the music of the country as distinct from that of the town. Folk music was "...seen as the authentic expression of a way of life now past or about to disappear" in "a community uninfluenced by art music" and by commercial and printed song. Lloyd rejected this in favour of a simple distinction of economic class yet for him true folk music was, in Charles Seeger's words, "associated with a lower class" in culturally and stratified societies.
In these terms folk music may be seen as part of a "schema comprising four musical types:'primitive' or'tribal'. Music in this genre is often called traditional music. Although the term is only descriptive, in some cases people use it as the name of a genre. For example, the Grammy Award used the terms "traditional music" and "traditional folk" for folk music, not contemporary folk music. Folk music may include most indigenous music. From a historical perspective, traditional folk music had these characteristics: It was transmitted through an oral tradition. Before the 20th century, ordinary people were illiterate; this was not mediated by books or recorded or transmitted media. Singers may extend their repertoire using broadsheets or song books, but these secondary enhancements are of the same character as the primary songs experienced in the flesh; the music was related to national culture. It was culturally particular. In the context of an immigrant group, folk music acquires an extra dimension for social cohesion.
It is conspicuous in immigrant societies, where Greek Australians, Somali Americans, Punjabi Canadians, others strive to emphasize their differences from the mainstream. They learn songs and dances that originate in the countries their grandparents came from, they commemorate personal events. On certain days of the year, such as Easter, May Day, Christmas, particular songs celebrate the yearly cycle. Weddings and funerals may be noted with songs and special costumes. Religious festivals have a folk music component. Choral music at these events brings children and non-professional singers to participate in a public arena, giving an emotional bonding, unrelated to the aesthetic qualities of the music; the songs have been performed, by custom, over a long period of time several generations. As a side-effect, the following characteristics are sometimes present: There is no copyright on the songs. Hundreds of folk songs from the 19th century have known authors but have continued in oral tradition to the point where they are considered traditional for purposes of music publishing.
This has become much less frequent since the 1940s. Today every folk song, recorded is credited with an arranger. Fusion of cultures: Because cultures interact and change over time