به روز ترین و با کیفیت ترین قیمت گل

بانک گل در سال ۱۳۶۵ فعالیت خود را در زمینه خرید و فروش انواع گل های شاخه ای آغاز نمود. از سال ۱۳۷۵ تا ۱۳۷۸ ضمن خرید و فروش عمده گل به گلفروشان، وارد حیطه ی طراحی و گل آرایی شد و اقدام به تاسیس یک گلفروشی نمود که این فعالیت، تجربه های بسیار ارزنده ای را در امر خرده فروشی به همراه داشت. از سال ۱۳۸۰۰همزمان با رشد صنعت گل و گیاه در کشور، بانک گل به عنوان رابط فروش عمده ی گل از تولیدکنندگان به خرده فروشان (گلفروشان سطح ایران ) بیشتر در بین رقبا شناخته شد و توانست قراردادهای سالیانه با تولیدکنندگان مطرح گلهایی مانند آنتوریوم، رزهلندی، آلسترومریا در ایران و همچنین واردکنندگان گل ارکیده جهت فروش محصولاتشان منعقد سازد و به صورت بنگاهی جهت فروش عمده، به فعالیت خود ادامه دهد.

حوزه فعالیت فعلی بانک گل

مدیریت بانک گل با اتکا بر توانایی ها و تجارب گرانبهای خود در زمینه فروش، طراحی و گل آرایی قصد دارد فعالیت اقتصادی خود را بر بستر شبکه جهانی اینترنت گسترش دهد و تلاش دارد تا با تاسیس یک فروشگاه اینترنتی فرآیند خرید یک محصول را در کمترین زمان ممکن برای مشتریان گرامی تسهیل سازد.

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In fact the idea of dividing scales into equal intervals is an outcome of westerniza- tion in Persian music. Some of the musicians who studied western music have felt the absence of harmony in their music and they tried to find a solution. In western music, the smallest interval is a semitone. They were aware of the fact that it is not possible to represent Persian music with whole-tones and semitones when their music contained unmistakably some other intervals, so they represented the quartertone as the smallest unit. Western musical influences begin in Persia by the second half of nineteenth centu- ry when Naser-eddin Shah who ruled from 1848 to 1896, visited Europe on three different occasions. He was impressed by the ceremonies where military bands were performing music. After his first tour to Europe he ordered the establishment of a musical school to train musicians for his imperial military band.

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سیستم های دزدگیر مغازه مدرن

دزدگیر مغازه یا سیستم اعلام سرقت فروشگاهی سیستمی است که به صاحبان فروشگاه ها کمک می کند با صرف هزینه ، وقت کمتر و ضریب اطمینان بالاتر مانع از خروج اجناس مغازه به صورت غیر قانونی شویم.دزدگیر مغازه عموما متشکل از  یک ، دو و یا چند آنتن می باشد که در جلوی درب خروج فروشگاه قرار می گیرد و هر گاه کالای داخل فروشگاه که دارای تگ یا لیبل هم فرکانس دستگاه باشد از محدوده ی مشخصی از دستگاه عبور کند، دزدگیر مغازه شروع به آژیر کشیدن می کند و کارمندان فروشگاه را از خروج کالا مطلع می نماید.

دزدگیر

دزدگیر فروشگاهی

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سیستم های دزدگیر ایرسا کاسپین

دزدگیر های مغازه (گیت های دزدگیر فروشگاهی) ساخت کشور ها و کارخانه های مختلفی می باشند و شکل ظاهری آن ها نیز با هم متفاوت است ؛ بنابراین دزدگیر مغازه ها با قیمت های مختلفی در بازار موجود می باشد. تگ ها ولیبل ها ی دزدگیر مغازه ها ( سیستم های دزدگیر فروشگاهی ) نیز با کیفیت ها و قیمت های مختلفی در یازار موجود می باشند که شاید خریداران محترم با نگاه کردن به شکل ظاهری آن ها متوجه تفاوت کیفیت آن ها نشوند پس بهتر است خریداران گرامی از شرکت ها و برندها معتبری اجناس خود را خریداری نمایند.

دزدگیر

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Know about Iranian Daf instrument

There are two kinds of Daf available, one with natural skin and the next with artificial skin or plastic. Generally natural Daf has a better sound and is more expensive compared to plastic Daf. However it is not recommended for beginners apprentices to provide natural Daf as many Dafs have been impaired as a result of not knowing how to maintain them as well as not being aware of how to warm them.

Daf online Instructor:

In this method the instructor, Hooman Tootoonchian, teaches Persian Daf via Skype.

Daf lessons Languages:

The Daf online class can be taken in Persian and English languages.

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Do you know how to play Setar?

Each of the four string of setar can be tuned by GOOSHI provided at the end of the stick. The basic note for Tar Setar’s tune is usually Do (C) on the first string and the rest is tuned in accordance with the first string

Setar Tuning

The note Do in Setar is the middle C in the piano. Do in Iranian music is half fret which is in classical music and is also equal to Cb in Diapason.

Since the instrument sound might disturb the player’s ears, the basic note of La is used to tune the first string for practice.

Another reason of using La is the loose quality of the string. As a result of it, the strings durability increases. At the same time, it becomes easier to put fingers on the strings and perform techniques like pick on it.

Particular tune is usually considered for each Dastgah. However player’s emotion and songs theme might differ depending on each Dastgah, system.

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Persian music Improvisation

Improvisation plays an essential role in Persian Music and it is more based on interpretation of the Dastgah feeling and principles which maestros have made. A good improvisation needs good skills on instrumental techniques or singing and complete knowledge of Dastagahs and Avazes, melody and rhythm structure of their Gushe’s and their arrangement order.

There are three methods to have a masterly performance of Persian Music :

1. Even though it seems that it is not necessary to improvise in order to play the Radif, the musician does it in some cases because it is not possible to separate improvisation from Persian music.

2. In playing Phantasy music, they use unusual modulations. Performance begins in an accidental point and goes throughout the Gushes very freely.

3. Morakkab-Khani is a very difficult style when the musician starts in a certain Dastgah and then goes through some other Dastgahs and at the end goes back to the first one.

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Know more about Persian music instrument

The Setar

The origins of the setar go back to a pre-Islamic lute called the tanbouré Khorassan, from the family of long neck and small resonating chamber plucked instruments. In the evolution of Persian music, this instrument underwent many transformations, especially with regard to the shape of the resonating chamber, the number and placement of the frets, and the number of strings. This last transformation took place at the beginning of the twentieth century. A fourth string was added to the setar (the literal meaning of which is ‘three strings’) by Moshtaq Ali Shah, who positioned it between the second and the third.

Today the setar has 4 strings, two singles and one doubled. The setar is tuned in different ways depending on the mode in which the musician plays. A wide variety of tuning can be adapted to the setar regarding the desired effect by the instrument, modal or non-modal. The instrument has between 25 and 29 moveable gut frets (depending to players) organized in microtones according to the Persian musical scales. The setar has a range of two and a half octaves.

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HISTORICAL PERSPECTIVE

We do not know very much about the earliest Persian civilization music. Great music scholars like Farabi (tenth century), Ebne-Sina (eleventh century) and Sa- fioddin Armavi have left us very important musical knowledge, but there is not any credible document before Farabi. The Persian Empire of Achamenean dynasty (550-331 B.C.) has revealed almost nothing about their music. But Greek histori- ans have written some about Persian classical music; as Herodotus mentioned the religious rituals of Zoroastrians which involved a chanting of sacred hymns and Xenophon in his Cyropedia speaks about the martial and ceremonial music of the Persian Empire.

The first documents from the Persian music which have come to us are from the Sassanian Period (A.D. 226 642). In the court of Sassanian they hired musicians such as Barbod, Nakisa, Ramtin and… Barbod the most illustrious musician in the court of Chosrous 2. Numerous stories have been told about his skills as a per- former and composer, he organized a musical system containing seven modal structures known as Royal tones (Xosrovani), thirty derivative modes (Lahn) and three hundred and sixty melodies ( Dastan). The numbers correspond with the number of days in a week,amonth and a year. (Farhat 1990, 3)

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Know more about Persian Music Theory

There are three theories about Persian music intervals. The first one, which was done in 1920 by Ali Naqi Vaziri, identifies Persian musical intervals based on a 24 quarter-tone scale. The second one was done by Mehdi Barkeshli in 1940 and defines Persian music intervals within a 22 tone scale. And a third one was pre- sented by Hormoz Farhat who is representing Persian Musical intervals within five intervals with which all of the Persian Musical modes are constructed and does not recognize any basic scale concept.(Farhat 1990, 7)

For more information please click on : PERSIAN MUSIC THEORY

Source : Rhythmitica

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