{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://ualberta.aviaryplatform.com/iiif/h707w6895n/manifest","type":"Manifest","label":{"en":["Modern Tombak (Zarb) Compositions: A Comparative Study, Figures 4, 5 and 38-73, 75-83"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/128/original/UA_Logo_WHT_RGB_%281%29.png?1725471982","metadata":[{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003e\u003cstrong\u003eLegend:\u003c/strong\u003e\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure (clarifying details)\u003c/strong\u003e\u003c/em\u003e: Title of figure (in-bold, if media audio file present; detailed brackets also in-bold)\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e(in brackets)\u003c/em\u003e: no audio, media-type depicted\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e{in braces}\u003c/em\u003e: note if needed clarification, for example which line of music from figure\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e[in square brackets]\u003c/em\u003e: page number from thesis\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eAfter the colon\u003c/em\u003e: Title of Figure (as it appears in-thesis)\u003c/p\u003e (general)","\u003cp\u003e\u003cstrong\u003eLIST OF FIGURES (bolded, if audio is present):\u003c/strong\u003e\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 1\u003c/em\u003e (missing audio, music figure)[p. 7]: Tehrani method book exercise #80; fundamental rhythm in reng (6/8 dance).\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 2 \u003c/em\u003e(no audio, pictures ){labelled in thesis “Liste of Figures…” as “Figure 1”}[p. 18]: pictures of contemporary tombak.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 3\u003c/em\u003e (no audio, diagram){labelled in thesis “Liste of Figures…” as “Figure 2”}[p. 19]: Division of two main modern schools of tombak, Eftetah’s school and Tehrani’s school.\u003c/p\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eFigure 4\u003c/em\u003e\u003c/strong\u003e {labelled in thesis “Liste of Figures…” as “Figure 3”}[p. 20]: Example of three-line staff notation.\u003c/p\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eFigure 5\u003c/em\u003e\u003c/strong\u003e {labelled in thesis “Liste of Figures…” as “Figure 4”}[p. 20]: Example of one-line staff notation.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 6\u003c/em\u003e (no audio, picture){labelled in thesis “Liste of Figures…” as “Figure 5”}[p. 21]: Hossein Tehrani playing tombak.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 7\u003c/em\u003e (no audio, picture){labelled in thesis “Liste of Figures…” as “Figure 6”}[p. 23]: Mohammad Esmâ‘ili playing tombak.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 8 \u003c/em\u003e(no audio, picture){labelled in thesis “Liste of Figures…” as “Figure 7”}[p. 24]: Bahman Rajabi playing tombak.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 9 \u003c/em\u003e(no audio, picture){labelled in thesis “Liste of Figures…” as “Figure 8”}[p. 26]: Dariush Zarbafian playing tombak.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 10 \u003c/em\u003e(no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 9”}[p. 39]: Similarity between Tehrani’s piece 1, motive 1 (measures 1-2) upper line and his method book exercise #54 lower line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 11\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 10”}[p. 40]: Tehrani piece 1, similarity between motive 1 (measure 1-2) upper line and motive 4 (measures 18-19) lower line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 12 \u003c/em\u003e(no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 11”}[p. 41]: Tehrani piece 1, alterations process for tombak 2 between motive 1 (measures 1-2) top line, motive 1 variant A (measures 3-4) middle line, and motive 1 variant B (measures 3 and 5) bottom line; omission of note and substitution of high tone for low tone.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 13\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 12”}[p. 44]: Tehrani, piece 2, cadence; tombak unison and concludes with bass tones.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 14 \u003c/em\u003e(no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 13”}[p. 45]: Tehrani piece 2, tombak-ha development process between motive 1 top line, motive 1 variant A middle line, and motive 1 variant B bottom line; change in playing techniques, insertion of notes, and substitution of individual notes for a roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 15 \u003c/em\u003e(no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 14”}[p. 46]: Tehrani piece 2, development process from motive 2 (measures 21-22) top line to motive 2 variant A (measures 25-26) bottom line; addition and omission of notes.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 16\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 15”}[p. 46]: Tehrani piece 2, development process from motive 3 (measures 29-30) top line to motive 3 variant A (measures 37-38) bottom line; insertion of notes and alteration to unison.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 17\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 16”}[p. 48]: Similarities between Tehrani’s piece 3 motive 1 (measures 1-2) top line and his piece 1 motive 3 (measures 11-12) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 18 \u003c/em\u003e(no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 17”}[p. 49]: Similarity between Tehrani’s piece 1 motive 1 (measures 1-2) top line and his piece 3 motive 2 (measures 5-6) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 19\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 18”}[p. 49]: Tehrani piece 3, similarities between motive 2 top left, motive 3 top right, and motive 4 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 20\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 19”}[p. 50]: Tehrani piece 3; continuation of roll from motive 4 (measures 25-26) top line to cadence (measures 29-32) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 21\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 20”}[p. 51]: Tehrani piece 3, development process from motive 2 (measures 5-6) top line to motive 2 variant A (measures 9-10) bottom line; simplification of rhythm and orchestration of rhythm between both tombak-ha.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 22\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 21”}[p. 52]: Tehrani piece 3, development process from motive 2 variant A top line, to motive 2 variant B middle line, to motive 2 variant C bottom line; changes in pitch and rhythm alteration from eighth notes to sixteenth notes and rolls.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 23 \u003c/em\u003e(no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 22”}[p. 53-54]: Tehrani piece 3; continuation of musical ideas throughout the piece.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 24\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 23”}[p. 55]: Tehrani piece 4, motive 8 (measures 145-146, rehearsal number 14); tombak-ha in rhythmic unison.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 25\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 24”}[p. 56-57]: Similarity between Tehrani piece 4, motive 2 (measure 8, rehearsal number 1) top line, and piece 3, motive 2 variant A (measures 9-10) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 26\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 25”}[p. 57]: Similarity between Tehrani piece 4, motive 3 (measures 12-13) top line, and piece 1, motive 1 (measures 1-2) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 27\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 26”}[p. 57]: Similarity between Tehrani piece 4, motive 5 (measures 52-53, rehearsal number 6) top line and his method book exercise #108 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 28 \u003c/em\u003e(no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 27”}[p. 58]: Similarities between Tehrani piece 4, motive 6 (measures 76-69, rehearsal number 8) top line , and his method book exercise #126 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 29 \u003c/em\u003e(no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 28”}[p. 58]: Similarities between Tehrani piece 4, motive 7 (measures 105-106, rehearsal number 12) top line and his method book exercise #80 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 30\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 29”}[p. 59]: Similarities between Tehrani piece 4, motive 8 (measures 145-146, rehearsal number 14) top line and his method book exercise #131 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 31\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 30”}[p. 59]: Similarities between Tehrani piece 4m motive 9 (measures 209-210, rehearsal number 19) top line and his method book exercise #185 bottom line. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 32 \u003c/em\u003e(no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 31”}[p. 59]: Tehrani piece 4, accompaniment rhythm (measures 213-214, eighth measures before rehearsal number 20). \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 33\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 32”}[p. 60]: Tehrani piece 4, cadence 1 (measures 22-23, one measure before rehearsal number 3) top line, cadence 2 (measures 30-32, one measure before rehearsal number 4) middle line, and cadence 7 (measures 259-262, rehearsal number 24) bottom line; all begin with roll in mid-register and conclude with bass tones.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 34 \u003c/em\u003e(no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 33”}[p. 62]: Tehrani piece 4, development process from motive 5 (measures 52-53, rehearsal number 6) top line to motive 5 variant A (measures 64-67, rehearsal number 7) bottom line; insertion of new material.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 35\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 34”}[p. 62-63]: Tehrani piece 4, motive 7 (measures 105-106, rehearsal number 12); 6/8 dance rhythm, dotted eighth notes followed by sixteenth note.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 36\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 35”}[p. 63]: Tehrani piece 4, development process from motive 7 (measure 105-106, rehearsal number 12) top line, to motive 7 variant A (measures 109-110, four measures after rehearsal number 12) middle line, to motive 7 variant E (measures 125-126, four measures before rehearsal number 13) bottom line; consistency in 6/8 dance rhythm and tombak 2’s rhythm.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 37\u003c/em\u003e (no audio, music figure){labelled in thesis “Liste of Figures…” as “Figure 36”}[p. 66]: Tehrani piece 4, improvised sections.\u003c/p\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eFigure 38\u003c/em\u003e\u003c/strong\u003e {labelled in thesis “Liste of Figures…” as “Figure 37”}[p. 71]: Esmâ‘ili motive 7 (measures 33-36); begins in tombak 2 ends in tombak 1.\u003c/p\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eFigure 39\u003c/em\u003e\u003c/strong\u003e {labelled in thesis “Liste of Figures…” as “Figure 38”}[p. 71]: Esmâ‘ili motive 8 line A and line B; polyrhythmic motive.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 40-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis “Liste of Figures…” as “Figure 39”}[p. 72]: Similarities between Tehrani piece 4, motive 5 (rehearsal number 6) top line, and Esmâ‘ili motive 4 (measures 15-18) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 40-2\u003c/strong\u003e\u003c/em\u003e (Esmâ‘ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 39”}[p. 72]: Similarities between Tehrani piece 4, motive 5 (rehearsal number 6) top line, and Esmâ‘ili motive 4 (measures 15-18) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 41-1 \u003c/strong\u003e\u003c/em\u003e(Esmâ‘ili, middle lines) {labelled in thesis “Liste of Figures…” as “Figure 40”}[p. 73]: Similarities between Esmâ‘ili motive 5 (measures 25-26) middle line, Tehrani method book exercise #104 top line and #105 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 41-2 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis “Liste of Figures…” as “Figure 40”}[p. 73]: Similarities between Esmâ‘ili motive 5 (measures 25-26) middle line, Tehrani method book exercise #104 top line and #105 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 41-3 \u003c/strong\u003e\u003c/em\u003e(Tehrani, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 40”}[p. 73]: Similarities between Esmâ‘ili motive 5 (measures 25-26) middle line, Tehrani method book exercise #104 top line and #105 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 42-1\u003c/strong\u003e\u003c/em\u003e (Tehrani, top line) ( {labelled in thesis “Liste of Figures…” as “Figure 41”}[p. 74]: Similarity between Tehrani piece 2, motive 3 variant A top line, and Esmâ‘ili motive 7 (measures 33-36) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 42-2\u003c/strong\u003e\u003c/em\u003e (Esmâ‘ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 41”}[p. 74]: Similarity between Tehrani piece 2, motive 3 variant A top line, and Esmâ‘ili motive 7 (measures 33-36) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 43-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line){labelled in thesis “Liste of Figures…” as “Figure 42”}[p. 74]: Similarity between Tehrani method book exercise #140 top line and Esmâ‘ili motive 8 line B (measures 59-61) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 43-2 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 42”}[p. 74]: Similarity between Tehrani method book exercise #140 top line and Esmâ‘ili motive 8 line B (measures 59-61) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 44-1\u003c/strong\u003e\u003c/em\u003e (Tehrani, top line) {labelled in thesis “Liste of Figures…” as “Figure 43”}[p. 74-75]: Similarity between Tehrani method book exercise #75 top line and Esmâ‘ili motive 15 (measures 192-193) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 44-2 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 43”}[p. 74-75]: Similarity between Tehrani method book exercise #75 top line and Esmâ‘ili motive 15 (measures 192-193) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 45 \u003c/strong\u003e\u003c/em\u003e{labelled in thesis “Liste of Figures…” as “Figure 44”}[p. 75]: Esmâ‘ili motive 1 over accompaniment 1 (measures 1); accompaniment made up of individual tones that emphasize the meter’s stress points. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 46\u003c/strong\u003e\u003c/em\u003e {labelled in thesis “Liste of Figures…” as “Figure 45”}[p. 76]: Esmâ‘ili accompaniment 2 over motive 2 (measure 9); accompaniment comprised of drone like mid-register rolls.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 47-1\u003c/strong\u003e\u003c/em\u003e (Tehrani, top line) {labelled in thesis “Liste of Figures…” as “Figure 46”}[p. 76]: Similarity between Tehrani method book exercise #54 top line and Esmâ‘ili accompaniment 8 (measure 96) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 47-2\u003c/strong\u003e\u003c/em\u003e (Esmâ'ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 46”}[p. 76]: Similarity between Tehrani method book exercise #54 top line and Esmâ‘ili accompaniment 8 (measure 96) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 48-1\u003c/strong\u003e\u003c/em\u003e (Tehrani, top line) {labelled in thesis “Liste of Figures…” as “Figure 47”}[p. 77]: Similarity between Tehrani method book exercise #137 top line and Esmâ‘ili accompaniment 11 (measure 153) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 48-2\u003c/strong\u003e\u003c/em\u003e (Esmâ'ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 47”}[p. 77]: Similarity between Tehrani method book exercise #137 top line and Esmâ‘ili accompaniment 11 (measure 153) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 49 \u003c/strong\u003e\u003c/em\u003e{labelled in thesis “Liste of Figures…” as “Figure 48”}[p. 77]: Esmâ‘ili motive 5 over accompaniment 5 (measure 25); accompaniment comprised of a single note accentuating the end of the motive. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 50 \u003c/strong\u003e\u003c/em\u003e{labelled in thesis “Liste of Figures…” as “Figure 49”}[p. 78]: Esmâ‘ili variant of accompaniment 11 over accompaniment 12 (measure 180-181); syncopation in accompaniment 12 creating a series of uninterrupted eighth notes.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 51\u003c/strong\u003e\u003c/em\u003e {labelled in thesis “Liste of Figures…” as “Figure 50”}[p. 78]: Esmâ‘ili cadence 1 (measures 144-145); mid-register roll, unison between tombak-ha, and concludes with bass tones.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 52\u003c/strong\u003e\u003c/em\u003e {labelled in thesis “Liste of Figures…” as “Figure 51”}[p. 79]: Esmâ‘ili cadence 2 (measures 216-217); unison between tombak-ha, single notes emphasizing stress points, concludes with bass tones.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 53 \u003c/strong\u003e\u003c/em\u003e{labelled in thesis “Liste of Figures…” as “Figure 52”}[p. 79]: Esmâ‘ili transitional passage (measure 5-6); mid-register roll, unison between tombak-ha, concludes with bass tones.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 54\u003c/strong\u003e\u003c/em\u003e {labelled in thesis “Liste of Figures…” as “Figure 53”}[p. 80]: Esmâ‘ili motive 9 variant A over motive 10 (measure 80); superimposition of motives creating a polyrhythmic passage.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 55\u003c/strong\u003e\u003c/em\u003e {labelled in thesis “Liste of Figures…” as “Figure 54”}[p. 81]: Esmâ‘ili measure 120-124; movement of principal line from tombak 1 to tombak 2. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 56\u003c/strong\u003e\u003c/em\u003e {labelled in thesis “Liste of Figures…” as “Figure 55”}[p. 81]: Esmâ‘ili motive 7 (measures 33-36); motive moves from tombak 2 to tombak 1.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 57-1 (Esmâ'ili, top line, 4/4 time) \u003c/strong\u003e\u003c/em\u003e{labelled in thesis “Liste of Figures…” as “Figure 56”}[p. 82]: Esmâ‘ili, development process from motive 1 (measure 1) top line to motive 1 variant A (measure 53) bottom line; change 4/4 to 6/8 time signature, repetition of beginning, and substitute last notes for a roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 57-2 (Esmâ'ili, bottom line, 6/8 time)\u003c/strong\u003e\u003c/em\u003e {labelled in thesis “Liste of Figures…” as “Figure 56”}[p. 82]: Esmâ‘ili, development process from motive 1 (measure 1) top line to motive 1 variant A (measure 53) bottom line; change 4/4 to 6/8 time signature, repetition of beginning, and substitute last notes for a roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 58-1 (Esmâ'ili, top line) \u003c/strong\u003e\u003c/em\u003e{labelled in thesis “Liste of Figures…” as “Figure 57”}[p. 83]: Esmâ‘ili development process from motive 7 (measures 33-36) top line to motive 7 variant A (measures 128-130) bottom line; changes in playing techniques, length of the passages, and different tombak begin and end passages.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 58-2 (Esmâ'ili, bottom line)\u003c/strong\u003e\u003c/em\u003e {labelled in thesis “Liste of Figures…” as “Figure 57”}[p. 83]: Esmâ‘ili development process from motive 7 (measures 33-36) top line to motive 7 variant A (measures 128-130) bottom line; changes in playing techniques, length of the passages, and different tombak begin and end passages.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 59-1 (Esmâ'ili, top line)\u003c/strong\u003e\u003c/em\u003e {labelled in thesis “Liste of Figures…” as “Figure 58”}[p. 84]: Esmâ ‘ili development process from motive 7 variant A (measues 128-130) top line to motive 7 variant  (measures 138-139) bottom line; repeat last few notes with three extra notes at the end. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 59-2 (Esmâ'ili, bottom line)\u003c/strong\u003e\u003c/em\u003e {labelled in thesis “Liste of Figures…” as “Figure 58”}[p. 84]: Esmâ ‘ili development process from motive 7 variant A (measues 128-130) top line to motive 7 variant  (measures 138-139) bottom line; repeat last few notes with three extra notes at the end.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 60-1 (Esmâ'ili, top line) \u003c/strong\u003e\u003c/em\u003e{labelled in thesis “Liste of Figures…” as “Figure 59”}[p. 84]: Esmâ‘ili development process from motive 7 (measures 33-36) top line to motive 7 variant C (measures 170-171) bottom line; first section with altered playing techniques. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 60-2 (Esmâ'ili, bottom line) \u003c/strong\u003e\u003c/em\u003e{labelled in thesis “Liste of Figures…” as “Figure 59”}[p. 84]: Esmâ‘ili development process from motive 7 (measures 33-36) top line to motive 7 variant C (measures 170-171) bottom line; first section with altered playing techniques. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 61-1 (Esmâ'ili, top line)\u003c/strong\u003e\u003c/em\u003e {labelled in thesis “Liste of Figures…” as “Figure 60”}[p. 85]: Esmâ‘ili development process from motive 8 line B (measures 59-61) top line to motive 8 line B variant A (measures 120-121) bottom line; change in playing technique and displacement of roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 61-2 (Esmâ'ili, bottom line)\u003c/strong\u003e\u003c/em\u003e {labelled in thesis “Liste of Figures…” as “Figure 60”}[p. 85]: Esmâ‘ili development process from motive 8 line B (measures 59-61) top line to motive 8 line B variant A (measures 120-121) bottom line; change in playing technique and displacement of roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 62-1\u003c/strong\u003e\u003c/em\u003e (Esmâ'ili, top line) {labelled in thesis “Liste of Figures…” as “Figure 61”}[p. 85]: Esmâ‘ili development process from motive 8 line B variant A (measures 120-121) top line to motive 8 line B variant B (measures 122-123) bottom line; changes in playing techniques. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 62-2\u003c/strong\u003e\u003c/em\u003e (Esmâ'ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 61”}[p. 85]: Esmâ‘ili development process from motive 8 line B variant A (measures 120-121) top line to motive 8 line B variant B (measures 122-123) bottom line; changes in playing techniques. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 63-1\u003c/strong\u003e\u003c/em\u003e (Esmâ'ili, top line) {labelled in thesis “Liste of Figures…” as “Figure 62”}[p. 86]: Esmâ‘ili development process from motive 8 line B (measures 59-61) top line to motive 8 line B variant C (measures 138-139) bottom line; displacement of roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 63-2 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 62”}[p. 86]: Esmâ‘ili development process from motive 8 line B (measures 59-61) top line to motive 8 line B variant C (measures 138-139) bottom line; displacement of roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 64-1\u003c/strong\u003e\u003c/em\u003e (Esmâ'ili, top line) {labelled in thesis “Liste of Figures…” as “Figure 63”}[p. 86]: Esmâ‘ili development process from motive 9 (measures 76-77) top line to motive 9 variant A (measures 80-81) bottom line; substitution of thirty-second notes with a roll. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 64-2 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 63”}[p. 86]: Esmâ‘ili development process from motive 9 (measures 76-77) top line to motive 9 variant A (measures 80-81) bottom line; substitution of thirty-second notes with a roll. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 65-1\u003c/strong\u003e\u003c/em\u003e (Esmâ'ili, top line) {labelled in thesis “Liste of Figures…” as “Figure 64”}[p. 87]: Esmâ‘ili development process from motive 9 (measures 76-77) top line to motive 9 variant B (measures 100-101) bottom line; extension of thirty-second note idea. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 65-2 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 64”}[p. 87]: Esmâ‘ili development process from motive 9 (measures 76-77) top line to motive 9 variant B (measures 100-101) bottom line; extension of thirty-second note idea. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 66-1 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, top line) {labelled in thesis “Liste of Figures…” as “Figure 65”}[p. 87]: Esmâ ‘ili development process from motive 12 (measure 149-150) top line to motive 12 variant A (measure 154) bottom line; maintains first measure, omits the first note of the measure. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 66-2 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 65”}[p. 87]: Esmâ ‘ili development process from motive 12 (measure 149-150) top line to motive 12 variant A (measure 154) bottom line; maintains first measure, omits the first note of the measure. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 67-1 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, top line) {labelled in thesis “Liste of Figures…” as “Figure 66”}[p. 87-88]: Esmâ‘ili development process from motive 12 (measures 149-150) top line to motive 12 variant B (measure 156) bottom line; second measure of initial motive with altered rhythm. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 67-2 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 66”}[p. 87-88]: Esmâ‘ili development process from motive 12 (measures 149-150) top line to motive 12 variant B (measure 156) bottom line; second measure of initial motive with altered rhythm. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 68-1 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, top line) {labelled in thesis “Liste of Figures…” as “Figure 67”}[p. 88]: Esmâ‘ili deveopment process from motive 12 (measures 149-150) top line to motive 12 variant C (measure 187) bottom line; omission of last section and displacement of paleng. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 68-2 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 67”}[p. 88]: Esmâ‘ili deveopment process from motive 12 (measures 149-150) top line to motive 12 variant C (measure 187) bottom line; omission of last section and displacement of paleng.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 69-1\u003c/strong\u003e\u003c/em\u003e (Esmâ'ili, top line) {labelled in thesis “Liste of Figures…” as “Figure 68”}[p. 89]: Esmâ‘ili development process from motive 12 (measures 149-150) top line, motive 12 variant C (measures 187) middle line, and motive 12 variant D (measures 202-203) bottom line; combination of ending of original motive with variant C to form variant D. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 69-2\u003c/strong\u003e\u003c/em\u003e (Esmâ'ili, middle line) {labelled in thesis “Liste of Figures…” as “Figure 68”}[p. 89]: Esmâ‘ili development process from motive 12 (measures 149-150) top line, motive 12 variant C (measures 187) middle line, and motive 12 variant D (measures 202-203) bottom line; combination of ending of original motive with variant C to form variant D. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 69-3 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 68”}[p. 89]: Esmâ‘ili development process from motive 12 (measures 149-150) top line, motive 12 variant C (measures 187) middle line, and motive 12 variant D (measures 202-203) bottom line; combination of ending of original motive with variant C to form variant D. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 70-1\u003c/strong\u003e\u003c/em\u003e (Esmâ'ili, top line) {labelled in thesis “Liste of Figures…” as “Figure 69”}[p. 89]: Esmâ‘ili development process from motive 12 variant C (measure 187) top line to motive 21 variant E (measure 210) bottom line; substitute rest for eighth notes. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 70-2 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 69”}[p. 89]: Esmâ‘ili development process from motive 12 variant C (measure 187) top line to motive 21 variant E (measure 210) bottom line; substitute rest for eighth notes. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 71-1 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, top line) {labelled in thesis “Liste of Figures…” as “Figure 70”}[p. 89-90]: Esmâ‘ili development process from accompaniment 3 (measures 11-12) top line to accompaniment 3 variant A (measures 23-24) bottom line; omission of roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 71-2\u003c/strong\u003e\u003c/em\u003e (Esmâ'ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 70”}[p. 89-90]: Esmâ‘ili development process from accompaniment 3 (measures 11-12) top line to accompaniment 3 variant A (measures 23-24) bottom line; omission of roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 72-1\u003c/strong\u003e\u003c/em\u003e (Esmâ'ili, top line) {labelled in thesis “Liste of Figures…” as “Figure 71”}[p. 90]: Esmâ‘ili development process from accompaniment 8 top line, accompaniment 8 variant A middle line, to accompaniment 8 variant B bottom line; change in playing techniques, omission of note, substitution of individual notes for rolls.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 72-2 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, middle line) {labelled in thesis “Liste of Figures…” as “Figure 71”}[p. 90]: Esmâ‘ili development process from accompaniment 8 top line, accompaniment 8 variant A middle line, to accompaniment 8 variant B bottom line; change in playing techniques, omission of note, substitution of individual notes for rolls.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 72-3\u003c/strong\u003e\u003c/em\u003e (Esmâ'ili, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 71”}[p. 90]: Esmâ‘ili development process from accompaniment 8 top line, accompaniment 8 variant A middle line, to accompaniment 8 variant B bottom line; change in playing techniques, omission of note, substitution of individual notes for rolls.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 73-1\u003c/strong\u003e\u003c/em\u003e (Esmâ'ili, first line) {labelled in thesis “Liste of Figures…” as “Figure 72”}[p. 91]: Esmâ‘ili development process from accompaniment 11 to all its variants; change in playing techniques. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 73-2 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, second line) {labelled in thesis “Liste of Figures…” as “Figure 72”}[p. 91]: Esmâ‘ili development process from accompaniment 11 to all its variants; change in playing techniques. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 73-3 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, third line) {labelled in thesis “Liste of Figures…” as “Figure 72”}[p. 91]: Esmâ‘ili development process from accompaniment 11 to all its variants; change in playing techniques. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 73-4 \u003c/strong\u003e\u003c/em\u003e(Esmâ'ili, fourth line) {labelled in thesis “Liste of Figures…” as “Figure 72”}[p. 91]: Esmâ‘ili development process from accompaniment 11 to all its variants; change in playing techniques. \u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 74\u003c/em\u003e (no audio, diagram){labelled in thesis “Liste of Figures…” as “Figure 73”}[p. 94]: Esmâ‘ili, macro structure of piece.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 75-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis “Liste of Figures…” as “Figure 74”}[p. 97]: Similarities between Tehrani method book exercise #97 top line and Rajabi motive 1 (measure 1) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 75-2\u003c/strong\u003e\u003c/em\u003e (Rajabi, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 74”}[p. 97]: Similarities between Tehrani method book exercise #97 top line and Rajabi motive 1 (measure 1) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 76-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis “Liste of Figures…” as “Figure 75”}[p. 98]: Similarities between Tehrani method book exercise #78 top line and Rajabi motive 2 (measures 11-14) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 76-2 \u003c/strong\u003e\u003c/em\u003e(Rajabi, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 75”}[p. 98]: Similarities between Tehrani method book exercise #78 top line and Rajabi motive 2 (measures 11-14) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 77-1\u003c/strong\u003e\u003c/em\u003e (Tehrani, top line) {labelled in thesis “Liste of Figures…” as “Figure 76”}[p. 98]: Similarities between Tehrani method book exercise #86 top line and Rajabi motive 3 (measures 23-26) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 77-2 \u003c/strong\u003e\u003c/em\u003e(Rajabi, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 76”}[p. 98]: Similarities between Tehrani method book exercise #86 top line and Rajabi motive 3 (measures 23-26) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 78-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis “Liste of Figures…” as “Figure 77”}[p. 98-99]: Similarities between Tehrani method book exercise # 169 top line and Rajabi motive 6 (measure 47) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 78-2 \u003c/strong\u003e\u003c/em\u003e(Rajabi, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 77”}[p. 98-99]: Similarities between Tehrani method book exercise # 169 top line and Rajabi motive 6 (measure 47) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 79-1\u003c/strong\u003e\u003c/em\u003e (Tehrani, top line) {labelled in thesis “Liste of Figures…” as “Figure 78”}[p. 99]: Similarity between Tehrani method book exercise #23 top line and Rajabi motive 9 (measures 69-72) middle and bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 79-2 \u003c/strong\u003e\u003c/em\u003e(Rajabi, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 78”}[p. 99]: Similarity between Tehrani method book exercise #23 top line and Rajabi motive 9 (measures 69-72) middle and bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 80-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis “Liste of Figures…” as “Figure 79”}[p. 99]: Similarities between Tehrani method book exercise #25 top line and Rajabi motive 10 (measures 93-94) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 80-2\u003c/strong\u003e\u003c/em\u003e (Rajabi, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 79”}[p. 99]: Similarities between Tehrani method book exercise #25 top line and Rajabi motive 10 (measures 93-94) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 81-1\u003c/strong\u003e\u003c/em\u003e (Esmâ'ili, top line) {labelled in thesis “Liste of Figures…” as “Figure 80”}[p. 100]: Similarity between Esmâ‘ili method book exercise #11 top line and Rajabi motive 12 (measure 129) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 81-2 \u003c/strong\u003e\u003c/em\u003e(Rajabi, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 80”}[p. 100]: Similarity between Esmâ‘ili method book exercise #11 top line and Rajabi motive 12 (measure 129) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 82-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis “Liste of Figures…” as “Figure 81”}[p. 100]: Similarity between Tehrani method book exercise #75 top line and Rajabi motive 25 (measures 515-518) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 82-2\u003c/strong\u003e\u003c/em\u003e (Rajabi, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 81”}[p. 100]: Similarity between Tehrani method book exercise #75 top line and Rajabi motive 25 (measures 515-518) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 83-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis “Liste of Figures…” as “Figure 82”}[p. 101]: Similarity between Tehani method book exercise #137 top line and Rajabi motive 28 (measures 576-577) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 83-2\u003c/strong\u003e\u003c/em\u003e (Rajabi, bottom line) {labelled in thesis “Liste of Figures…” as “Figure 82”}[p. 101]: Similarity between Tehani method book exercise #137 top line and Rajabi motive 28 (measures 576-577) bottom line.\u003c/p\u003e (table of contents)"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003e\u003ca href=\"https://creativecommons.org/licenses/by/4.0/\"\u003eCC by 4.0\u003c/a\u003e\u003c/p\u003e"]}},{"label":{"en":["Date"]},"value":{"en":["2016 (created)"]}},{"label":{"en":["Note"]},"value":{"en":["\u003cp\u003eThe Table of Contents (List of Figures) found above ammends the \"Liste of Figures...\" that may be found within the related thesis (by Kevin Johnson): https://doi.org/10.7939/R3280566W\u003c/p\u003e (general)"]}},{"label":{"en":["Type"]},"value":{"en":["music"]}},{"label":{"en":["Agent"]},"value":{"en":["Johnson, Kevin (Creator)"]}},{"label":{"en":["Format"]},"value":{"en":["audio (AV Type)"]}},{"label":{"en":["Subject"]},"value":{"en":["tombak music (topical)","percussion music (topical)"]}},{"label":{"en":["Language"]},"value":{"en":["no linguistic content"]}},{"label":{"en":["Relation"]},"value":{"en":["\u003ca href=\"https://doi.org/10.7939/R3280566W\"\u003eModern Tombak (Zarb) Compositions: A Comparative Study\u003c/a\u003e (is part of)","\u003ca href=\"https://ualberta.aviaryplatform.com/p/dUHm2Vb8ZndG1t5Ri9eTGg==\"\u003eModern Tombak (Zarb) Compositions: A Comparative Study (all audio figures)\u003c/a\u003e (is part of)"]}}],"summary":{"en":["\u003cp\u003e\u003cstrong\u003eLegend:\u003c/strong\u003e\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure (clarifying details)\u003c/strong\u003e\u003c/em\u003e: Title of figure (in-bold, if media audio file present; detailed brackets also in-bold)\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e(in brackets)\u003c/em\u003e: no audio, media-type depicted\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e{in braces}\u003c/em\u003e: note if needed clarification, for example which line of music from figure\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e[in square brackets]\u003c/em\u003e: page number from thesis\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eAfter the colon\u003c/em\u003e: Title of Figure (as it appears in-thesis)\u003c/p\u003e","\u003cp\u003e\u003cstrong\u003eLIST OF FIGURES (bolded, if audio is present):\u003c/strong\u003e\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 1\u003c/em\u003e (missing audio, music figure)[p. 7]: Tehrani method book exercise #80; fundamental rhythm in reng (6/8 dance).\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 2 \u003c/em\u003e(no audio, pictures ){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 1\u0026rdquo;}[p. 18]: pictures of contemporary tombak.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 3\u003c/em\u003e (no audio, diagram){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 2\u0026rdquo;}[p. 19]: Division of two main modern schools of tombak, Eftetah\u0026rsquo;s school and Tehrani\u0026rsquo;s school.\u003c/p\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eFigure 4\u003c/em\u003e\u003c/strong\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 3\u0026rdquo;}[p. 20]: Example of three-line staff notation.\u003c/p\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eFigure 5\u003c/em\u003e\u003c/strong\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 4\u0026rdquo;}[p. 20]: Example of one-line staff notation.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 6\u003c/em\u003e (no audio, picture){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 5\u0026rdquo;}[p. 21]: Hossein Tehrani playing tombak.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 7\u003c/em\u003e (no audio, picture){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 6\u0026rdquo;}[p. 23]: Mohammad Esm\u0026acirc;\u0026lsquo;ili playing tombak.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 8 \u003c/em\u003e(no audio, picture){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 7\u0026rdquo;}[p. 24]: Bahman Rajabi playing tombak.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 9 \u003c/em\u003e(no audio, picture){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 8\u0026rdquo;}[p. 26]: Dariush Zarbafian playing tombak.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 10 \u003c/em\u003e(no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 9\u0026rdquo;}[p. 39]: Similarity between Tehrani\u0026rsquo;s piece 1, motive 1 (measures 1-2) upper line and his method book exercise #54 lower line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 11\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 10\u0026rdquo;}[p. 40]: Tehrani piece 1, similarity between motive 1 (measure 1-2) upper line and motive 4 (measures 18-19) lower line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 12 \u003c/em\u003e(no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 11\u0026rdquo;}[p. 41]: Tehrani piece 1, alterations process for tombak 2 between motive 1 (measures 1-2) top line, motive 1 variant A (measures 3-4) middle line, and motive 1 variant B (measures 3 and 5) bottom line; omission of note and substitution of high tone for low tone.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 13\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 12\u0026rdquo;}[p. 44]: Tehrani, piece 2, cadence; tombak unison and concludes with bass tones.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 14 \u003c/em\u003e(no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 13\u0026rdquo;}[p. 45]: Tehrani piece 2, tombak-ha development process between motive 1 top line, motive 1 variant A middle line, and motive 1 variant B bottom line; change in playing techniques, insertion of notes, and substitution of individual notes for a roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 15 \u003c/em\u003e(no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 14\u0026rdquo;}[p. 46]: Tehrani piece 2, development process from motive 2 (measures 21-22) top line to motive 2 variant A (measures 25-26) bottom line; addition and omission of notes.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 16\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 15\u0026rdquo;}[p. 46]: Tehrani piece 2, development process from motive 3 (measures 29-30) top line to motive 3 variant A (measures 37-38) bottom line; insertion of notes and alteration to unison.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 17\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 16\u0026rdquo;}[p. 48]: Similarities between Tehrani\u0026rsquo;s piece 3 motive 1 (measures 1-2) top line and his piece 1 motive 3 (measures 11-12) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 18 \u003c/em\u003e(no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 17\u0026rdquo;}[p. 49]: Similarity between Tehrani\u0026rsquo;s piece 1 motive 1 (measures 1-2) top line and his piece 3 motive 2 (measures 5-6) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 19\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 18\u0026rdquo;}[p. 49]: Tehrani piece 3, similarities between motive 2 top left, motive 3 top right, and motive 4 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 20\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 19\u0026rdquo;}[p. 50]: Tehrani piece 3; continuation of roll from motive 4 (measures 25-26) top line to cadence (measures 29-32) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 21\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 20\u0026rdquo;}[p. 51]: Tehrani piece 3, development process from motive 2 (measures 5-6) top line to motive 2 variant A (measures 9-10) bottom line; simplification of rhythm and orchestration of rhythm between both tombak-ha.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 22\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 21\u0026rdquo;}[p. 52]: Tehrani piece 3, development process from motive 2 variant A top line, to motive 2 variant B middle line, to motive 2 variant C bottom line; changes in pitch and rhythm alteration from eighth notes to sixteenth notes and rolls.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 23 \u003c/em\u003e(no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 22\u0026rdquo;}[p. 53-54]: Tehrani piece 3; continuation of musical ideas throughout the piece.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 24\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 23\u0026rdquo;}[p. 55]: Tehrani piece 4, motive 8 (measures 145-146, rehearsal number 14); tombak-ha in rhythmic unison.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 25\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 24\u0026rdquo;}[p. 56-57]: Similarity between Tehrani piece 4, motive 2 (measure 8, rehearsal number 1) top line, and piece 3, motive 2 variant A (measures 9-10) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 26\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 25\u0026rdquo;}[p. 57]: Similarity between Tehrani piece 4, motive 3 (measures 12-13) top line, and piece 1, motive 1 (measures 1-2) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 27\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 26\u0026rdquo;}[p. 57]: Similarity between Tehrani piece 4, motive 5 (measures 52-53, rehearsal number 6) top line and his method book exercise #108 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 28 \u003c/em\u003e(no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 27\u0026rdquo;}[p. 58]: Similarities between Tehrani piece 4, motive 6 (measures 76-69, rehearsal number 8) top line , and his method book exercise #126 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 29 \u003c/em\u003e(no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 28\u0026rdquo;}[p. 58]: Similarities between Tehrani piece 4, motive 7 (measures 105-106, rehearsal number 12) top line and his method book exercise #80 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 30\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 29\u0026rdquo;}[p. 59]: Similarities between Tehrani piece 4, motive 8 (measures 145-146, rehearsal number 14) top line and his method book exercise #131 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 31\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 30\u0026rdquo;}[p. 59]: Similarities between Tehrani piece 4m motive 9 (measures 209-210, rehearsal number 19) top line and his method book exercise #185 bottom line.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 32 \u003c/em\u003e(no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 31\u0026rdquo;}[p. 59]: Tehrani piece 4, accompaniment rhythm (measures 213-214, eighth measures before rehearsal number 20).\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 33\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 32\u0026rdquo;}[p. 60]: Tehrani piece 4, cadence 1 (measures 22-23, one measure before rehearsal number 3) top line, cadence 2 (measures 30-32, one measure before rehearsal number 4) middle line, and cadence 7 (measures 259-262, rehearsal number 24) bottom line; all begin with roll in mid-register and conclude with bass tones.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 34 \u003c/em\u003e(no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 33\u0026rdquo;}[p. 62]: Tehrani piece 4, development process from motive 5 (measures 52-53, rehearsal number 6) top line to motive 5 variant A (measures 64-67, rehearsal number 7) bottom line; insertion of new material.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 35\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 34\u0026rdquo;}[p. 62-63]: Tehrani piece 4, motive 7 (measures 105-106, rehearsal number 12); 6/8 dance rhythm, dotted eighth notes followed by sixteenth note.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 36\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 35\u0026rdquo;}[p. 63]: Tehrani piece 4, development process from motive 7 (measure 105-106, rehearsal number 12) top line, to motive 7 variant A (measures 109-110, four measures after rehearsal number 12) middle line, to motive 7 variant E (measures 125-126, four measures before rehearsal number 13) bottom line; consistency in 6/8 dance rhythm and tombak 2\u0026rsquo;s rhythm.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 37\u003c/em\u003e (no audio, music figure){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 36\u0026rdquo;}[p. 66]: Tehrani piece 4, improvised sections.\u003c/p\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eFigure 38\u003c/em\u003e\u003c/strong\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 37\u0026rdquo;}[p. 71]: Esm\u0026acirc;\u0026lsquo;ili motive 7 (measures 33-36); begins in tombak 2 ends in tombak 1.\u003c/p\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eFigure 39\u003c/em\u003e\u003c/strong\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 38\u0026rdquo;}[p. 71]: Esm\u0026acirc;\u0026lsquo;ili motive 8 line A and line B; polyrhythmic motive.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 40-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 39\u0026rdquo;}[p. 72]: Similarities between Tehrani piece 4, motive 5 (rehearsal number 6) top line, and Esm\u0026acirc;\u0026lsquo;ili motive 4 (measures 15-18) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 40-2\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;\u0026lsquo;ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 39\u0026rdquo;}[p. 72]: Similarities between Tehrani piece 4, motive 5 (rehearsal number 6) top line, and Esm\u0026acirc;\u0026lsquo;ili motive 4 (measures 15-18) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 41-1 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;\u0026lsquo;ili, middle lines) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 40\u0026rdquo;}[p. 73]: Similarities between Esm\u0026acirc;\u0026lsquo;ili motive 5 (measures 25-26) middle line, Tehrani method book exercise #104 top line and #105 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 41-2 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 40\u0026rdquo;}[p. 73]: Similarities between Esm\u0026acirc;\u0026lsquo;ili motive 5 (measures 25-26) middle line, Tehrani method book exercise #104 top line and #105 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 41-3 \u003c/strong\u003e\u003c/em\u003e(Tehrani, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 40\u0026rdquo;}[p. 73]: Similarities between Esm\u0026acirc;\u0026lsquo;ili motive 5 (measures 25-26) middle line, Tehrani method book exercise #104 top line and #105 bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 42-1\u003c/strong\u003e\u003c/em\u003e (Tehrani, top line) ( {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 41\u0026rdquo;}[p. 74]: Similarity between Tehrani piece 2, motive 3 variant A top line, and Esm\u0026acirc;\u0026lsquo;ili motive 7 (measures 33-36) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 42-2\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;\u0026lsquo;ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 41\u0026rdquo;}[p. 74]: Similarity between Tehrani piece 2, motive 3 variant A top line, and Esm\u0026acirc;\u0026lsquo;ili motive 7 (measures 33-36) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 43-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 42\u0026rdquo;}[p. 74]: Similarity between Tehrani method book exercise #140 top line and Esm\u0026acirc;\u0026lsquo;ili motive 8 line B (measures 59-61) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 43-2 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 42\u0026rdquo;}[p. 74]: Similarity between Tehrani method book exercise #140 top line and Esm\u0026acirc;\u0026lsquo;ili motive 8 line B (measures 59-61) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 44-1\u003c/strong\u003e\u003c/em\u003e (Tehrani, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 43\u0026rdquo;}[p. 74-75]: Similarity between Tehrani method book exercise #75 top line and Esm\u0026acirc;\u0026lsquo;ili motive 15 (measures 192-193) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 44-2 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 43\u0026rdquo;}[p. 74-75]: Similarity between Tehrani method book exercise #75 top line and Esm\u0026acirc;\u0026lsquo;ili motive 15 (measures 192-193) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 45 \u003c/strong\u003e\u003c/em\u003e{labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 44\u0026rdquo;}[p. 75]: Esm\u0026acirc;\u0026lsquo;ili motive 1 over accompaniment 1 (measures 1); accompaniment made up of individual tones that emphasize the meter\u0026rsquo;s stress points.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 46\u003c/strong\u003e\u003c/em\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 45\u0026rdquo;}[p. 76]: Esm\u0026acirc;\u0026lsquo;ili accompaniment 2 over motive 2 (measure 9); accompaniment comprised of drone like mid-register rolls.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 47-1\u003c/strong\u003e\u003c/em\u003e (Tehrani, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 46\u0026rdquo;}[p. 76]: Similarity between Tehrani method book exercise #54 top line and Esm\u0026acirc;\u0026lsquo;ili accompaniment 8 (measure 96) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 47-2\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;'ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 46\u0026rdquo;}[p. 76]: Similarity between Tehrani method book exercise #54 top line and Esm\u0026acirc;\u0026lsquo;ili accompaniment 8 (measure 96) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 48-1\u003c/strong\u003e\u003c/em\u003e (Tehrani, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 47\u0026rdquo;}[p. 77]: Similarity between Tehrani method book exercise #137 top line and Esm\u0026acirc;\u0026lsquo;ili accompaniment 11 (measure 153) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 48-2\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;'ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 47\u0026rdquo;}[p. 77]: Similarity between Tehrani method book exercise #137 top line and Esm\u0026acirc;\u0026lsquo;ili accompaniment 11 (measure 153) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 49 \u003c/strong\u003e\u003c/em\u003e{labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 48\u0026rdquo;}[p. 77]: Esm\u0026acirc;\u0026lsquo;ili motive 5 over accompaniment 5 (measure 25); accompaniment comprised of a single note accentuating the end of the motive.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 50 \u003c/strong\u003e\u003c/em\u003e{labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 49\u0026rdquo;}[p. 78]: Esm\u0026acirc;\u0026lsquo;ili variant of accompaniment 11 over accompaniment 12 (measure 180-181); syncopation in accompaniment 12 creating a series of uninterrupted eighth notes.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 51\u003c/strong\u003e\u003c/em\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 50\u0026rdquo;}[p. 78]: Esm\u0026acirc;\u0026lsquo;ili cadence 1 (measures 144-145); mid-register roll, unison between tombak-ha, and concludes with bass tones.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 52\u003c/strong\u003e\u003c/em\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 51\u0026rdquo;}[p. 79]: Esm\u0026acirc;\u0026lsquo;ili cadence 2 (measures 216-217); unison between tombak-ha, single notes emphasizing stress points, concludes with bass tones.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 53 \u003c/strong\u003e\u003c/em\u003e{labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 52\u0026rdquo;}[p. 79]: Esm\u0026acirc;\u0026lsquo;ili transitional passage (measure 5-6); mid-register roll, unison between tombak-ha, concludes with bass tones.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 54\u003c/strong\u003e\u003c/em\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 53\u0026rdquo;}[p. 80]: Esm\u0026acirc;\u0026lsquo;ili motive 9 variant A over motive 10 (measure 80); superimposition of motives creating a polyrhythmic passage.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 55\u003c/strong\u003e\u003c/em\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 54\u0026rdquo;}[p. 81]: Esm\u0026acirc;\u0026lsquo;ili measure 120-124; movement of principal line from tombak 1 to tombak 2.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 56\u003c/strong\u003e\u003c/em\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 55\u0026rdquo;}[p. 81]: Esm\u0026acirc;\u0026lsquo;ili motive 7 (measures 33-36); motive moves from tombak 2 to tombak 1.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 57-1 (Esm\u0026acirc;'ili, top line, 4/4 time) \u003c/strong\u003e\u003c/em\u003e{labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 56\u0026rdquo;}[p. 82]: Esm\u0026acirc;\u0026lsquo;ili, development process from motive 1 (measure 1) top line to motive 1 variant A (measure 53) bottom line; change 4/4 to 6/8 time signature, repetition of beginning, and substitute last notes for a roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 57-2 (Esm\u0026acirc;'ili, bottom line, 6/8 time)\u003c/strong\u003e\u003c/em\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 56\u0026rdquo;}[p. 82]: Esm\u0026acirc;\u0026lsquo;ili, development process from motive 1 (measure 1) top line to motive 1 variant A (measure 53) bottom line; change 4/4 to 6/8 time signature, repetition of beginning, and substitute last notes for a roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 58-1 (Esm\u0026acirc;'ili, top line) \u003c/strong\u003e\u003c/em\u003e{labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 57\u0026rdquo;}[p. 83]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 7 (measures 33-36) top line to motive 7 variant A (measures 128-130) bottom line; changes in playing techniques, length of the passages, and different tombak begin and end passages.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 58-2 (Esm\u0026acirc;'ili, bottom line)\u003c/strong\u003e\u003c/em\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 57\u0026rdquo;}[p. 83]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 7 (measures 33-36) top line to motive 7 variant A (measures 128-130) bottom line; changes in playing techniques, length of the passages, and different tombak begin and end passages.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 59-1 (Esm\u0026acirc;'ili, top line)\u003c/strong\u003e\u003c/em\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 58\u0026rdquo;}[p. 84]: Esm\u0026acirc; \u0026lsquo;ili development process from motive 7 variant A (measues 128-130) top line to motive 7 variant \u0026nbsp;(measures 138-139) bottom line; repeat last few notes with three extra notes at the end.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 59-2 (Esm\u0026acirc;'ili, bottom line)\u003c/strong\u003e\u003c/em\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 58\u0026rdquo;}[p. 84]: Esm\u0026acirc; \u0026lsquo;ili development process from motive 7 variant A (measues 128-130) top line to motive 7 variant \u0026nbsp;(measures 138-139) bottom line; repeat last few notes with three extra notes at the end.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 60-1 (Esm\u0026acirc;'ili, top line) \u003c/strong\u003e\u003c/em\u003e{labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 59\u0026rdquo;}[p. 84]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 7 (measures 33-36) top line to motive 7 variant C (measures 170-171) bottom line; first section with altered playing techniques.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 60-2 (Esm\u0026acirc;'ili, bottom line) \u003c/strong\u003e\u003c/em\u003e{labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 59\u0026rdquo;}[p. 84]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 7 (measures 33-36) top line to motive 7 variant C (measures 170-171) bottom line; first section with altered playing techniques.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 61-1 (Esm\u0026acirc;'ili, top line)\u003c/strong\u003e\u003c/em\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 60\u0026rdquo;}[p. 85]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 8 line B (measures 59-61) top line to motive 8 line B variant A (measures 120-121) bottom line; change in playing technique and displacement of roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 61-2 (Esm\u0026acirc;'ili, bottom line)\u003c/strong\u003e\u003c/em\u003e {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 60\u0026rdquo;}[p. 85]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 8 line B (measures 59-61) top line to motive 8 line B variant A (measures 120-121) bottom line; change in playing technique and displacement of roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 62-1\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;'ili, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 61\u0026rdquo;}[p. 85]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 8 line B variant A (measures 120-121) top line to motive 8 line B variant B (measures 122-123) bottom line; changes in playing techniques.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 62-2\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;'ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 61\u0026rdquo;}[p. 85]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 8 line B variant A (measures 120-121) top line to motive 8 line B variant B (measures 122-123) bottom line; changes in playing techniques.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 63-1\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;'ili, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 62\u0026rdquo;}[p. 86]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 8 line B (measures 59-61) top line to motive 8 line B variant C (measures 138-139) bottom line; displacement of roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 63-2 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 62\u0026rdquo;}[p. 86]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 8 line B (measures 59-61) top line to motive 8 line B variant C (measures 138-139) bottom line; displacement of roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 64-1\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;'ili, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 63\u0026rdquo;}[p. 86]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 9 (measures 76-77) top line to motive 9 variant A (measures 80-81) bottom line; substitution of thirty-second notes with a roll.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 64-2 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 63\u0026rdquo;}[p. 86]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 9 (measures 76-77) top line to motive 9 variant A (measures 80-81) bottom line; substitution of thirty-second notes with a roll.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 65-1\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;'ili, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 64\u0026rdquo;}[p. 87]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 9 (measures 76-77) top line to motive 9 variant B (measures 100-101) bottom line; extension of thirty-second note idea.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 65-2 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 64\u0026rdquo;}[p. 87]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 9 (measures 76-77) top line to motive 9 variant B (measures 100-101) bottom line; extension of thirty-second note idea.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 66-1 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 65\u0026rdquo;}[p. 87]: Esm\u0026acirc; \u0026lsquo;ili development process from motive 12 (measure 149-150) top line to motive 12 variant A (measure 154) bottom line; maintains first measure, omits the first note of the measure.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 66-2 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 65\u0026rdquo;}[p. 87]: Esm\u0026acirc; \u0026lsquo;ili development process from motive 12 (measure 149-150) top line to motive 12 variant A (measure 154) bottom line; maintains first measure, omits the first note of the measure.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 67-1 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 66\u0026rdquo;}[p. 87-88]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 12 (measures 149-150) top line to motive 12 variant B (measure 156) bottom line; second measure of initial motive with altered rhythm.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 67-2 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 66\u0026rdquo;}[p. 87-88]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 12 (measures 149-150) top line to motive 12 variant B (measure 156) bottom line; second measure of initial motive with altered rhythm.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 68-1 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 67\u0026rdquo;}[p. 88]: Esm\u0026acirc;\u0026lsquo;ili deveopment process from motive 12 (measures 149-150) top line to motive 12 variant C (measure 187) bottom line; omission of last section and displacement of paleng.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 68-2 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 67\u0026rdquo;}[p. 88]: Esm\u0026acirc;\u0026lsquo;ili deveopment process from motive 12 (measures 149-150) top line to motive 12 variant C (measure 187) bottom line; omission of last section and displacement of paleng.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 69-1\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;'ili, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 68\u0026rdquo;}[p. 89]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 12 (measures 149-150) top line, motive 12 variant C (measures 187) middle line, and motive 12 variant D (measures 202-203) bottom line; combination of ending of original motive with variant C to form variant D.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 69-2\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;'ili, middle line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 68\u0026rdquo;}[p. 89]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 12 (measures 149-150) top line, motive 12 variant C (measures 187) middle line, and motive 12 variant D (measures 202-203) bottom line; combination of ending of original motive with variant C to form variant D.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 69-3 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 68\u0026rdquo;}[p. 89]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 12 (measures 149-150) top line, motive 12 variant C (measures 187) middle line, and motive 12 variant D (measures 202-203) bottom line; combination of ending of original motive with variant C to form variant D.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 70-1\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;'ili, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 69\u0026rdquo;}[p. 89]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 12 variant C (measure 187) top line to motive 21 variant E (measure 210) bottom line; substitute rest for eighth notes.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 70-2 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 69\u0026rdquo;}[p. 89]: Esm\u0026acirc;\u0026lsquo;ili development process from motive 12 variant C (measure 187) top line to motive 21 variant E (measure 210) bottom line; substitute rest for eighth notes.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 71-1 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 70\u0026rdquo;}[p. 89-90]: Esm\u0026acirc;\u0026lsquo;ili development process from accompaniment 3 (measures 11-12) top line to accompaniment 3 variant A (measures 23-24) bottom line; omission of roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 71-2\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;'ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 70\u0026rdquo;}[p. 89-90]: Esm\u0026acirc;\u0026lsquo;ili development process from accompaniment 3 (measures 11-12) top line to accompaniment 3 variant A (measures 23-24) bottom line; omission of roll.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 72-1\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;'ili, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 71\u0026rdquo;}[p. 90]: Esm\u0026acirc;\u0026lsquo;ili development process from accompaniment 8 top line, accompaniment 8 variant A middle line, to accompaniment 8 variant B bottom line; change in playing techniques, omission of note, substitution of individual notes for rolls.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 72-2 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, middle line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 71\u0026rdquo;}[p. 90]: Esm\u0026acirc;\u0026lsquo;ili development process from accompaniment 8 top line, accompaniment 8 variant A middle line, to accompaniment 8 variant B bottom line; change in playing techniques, omission of note, substitution of individual notes for rolls.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 72-3\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;'ili, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 71\u0026rdquo;}[p. 90]: Esm\u0026acirc;\u0026lsquo;ili development process from accompaniment 8 top line, accompaniment 8 variant A middle line, to accompaniment 8 variant B bottom line; change in playing techniques, omission of note, substitution of individual notes for rolls.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 73-1\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;'ili, first line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 72\u0026rdquo;}[p. 91]: Esm\u0026acirc;\u0026lsquo;ili development process from accompaniment 11 to all its variants; change in playing techniques.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 73-2 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, second line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 72\u0026rdquo;}[p. 91]: Esm\u0026acirc;\u0026lsquo;ili development process from accompaniment 11 to all its variants; change in playing techniques.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 73-3 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, third line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 72\u0026rdquo;}[p. 91]: Esm\u0026acirc;\u0026lsquo;ili development process from accompaniment 11 to all its variants; change in playing techniques.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 73-4 \u003c/strong\u003e\u003c/em\u003e(Esm\u0026acirc;'ili, fourth line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 72\u0026rdquo;}[p. 91]: Esm\u0026acirc;\u0026lsquo;ili development process from accompaniment 11 to all its variants; change in playing techniques.\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003eFigure 74\u003c/em\u003e (no audio, diagram){labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 73\u0026rdquo;}[p. 94]: Esm\u0026acirc;\u0026lsquo;ili, macro structure of piece.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 75-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 74\u0026rdquo;}[p. 97]: Similarities between Tehrani method book exercise #97 top line and Rajabi motive 1 (measure 1) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 75-2\u003c/strong\u003e\u003c/em\u003e (Rajabi, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 74\u0026rdquo;}[p. 97]: Similarities between Tehrani method book exercise #97 top line and Rajabi motive 1 (measure 1) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 76-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 75\u0026rdquo;}[p. 98]: Similarities between Tehrani method book exercise #78 top line and Rajabi motive 2 (measures 11-14) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 76-2 \u003c/strong\u003e\u003c/em\u003e(Rajabi, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 75\u0026rdquo;}[p. 98]: Similarities between Tehrani method book exercise #78 top line and Rajabi motive 2 (measures 11-14) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 77-1\u003c/strong\u003e\u003c/em\u003e (Tehrani, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 76\u0026rdquo;}[p. 98]: Similarities between Tehrani method book exercise #86 top line and Rajabi motive 3 (measures 23-26) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 77-2 \u003c/strong\u003e\u003c/em\u003e(Rajabi, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 76\u0026rdquo;}[p. 98]: Similarities between Tehrani method book exercise #86 top line and Rajabi motive 3 (measures 23-26) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 78-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 77\u0026rdquo;}[p. 98-99]: Similarities between Tehrani method book exercise # 169 top line and Rajabi motive 6 (measure 47) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 78-2 \u003c/strong\u003e\u003c/em\u003e(Rajabi, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 77\u0026rdquo;}[p. 98-99]: Similarities between Tehrani method book exercise # 169 top line and Rajabi motive 6 (measure 47) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 79-1\u003c/strong\u003e\u003c/em\u003e (Tehrani, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 78\u0026rdquo;}[p. 99]: Similarity between Tehrani method book exercise #23 top line and Rajabi motive 9 (measures 69-72) middle and bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 79-2 \u003c/strong\u003e\u003c/em\u003e(Rajabi, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 78\u0026rdquo;}[p. 99]: Similarity between Tehrani method book exercise #23 top line and Rajabi motive 9 (measures 69-72) middle and bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 80-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 79\u0026rdquo;}[p. 99]: Similarities between Tehrani method book exercise #25 top line and Rajabi motive 10 (measures 93-94) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 80-2\u003c/strong\u003e\u003c/em\u003e (Rajabi, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 79\u0026rdquo;}[p. 99]: Similarities between Tehrani method book exercise #25 top line and Rajabi motive 10 (measures 93-94) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 81-1\u003c/strong\u003e\u003c/em\u003e (Esm\u0026acirc;'ili, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 80\u0026rdquo;}[p. 100]: Similarity between Esm\u0026acirc;\u0026lsquo;ili method book exercise #11 top line and Rajabi motive 12 (measure 129) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 81-2 \u003c/strong\u003e\u003c/em\u003e(Rajabi, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 80\u0026rdquo;}[p. 100]: Similarity between Esm\u0026acirc;\u0026lsquo;ili method book exercise #11 top line and Rajabi motive 12 (measure 129) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 82-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 81\u0026rdquo;}[p. 100]: Similarity between Tehrani method book exercise #75 top line and Rajabi motive 25 (measures 515-518) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 82-2\u003c/strong\u003e\u003c/em\u003e (Rajabi, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 81\u0026rdquo;}[p. 100]: Similarity between Tehrani method book exercise #75 top line and Rajabi motive 25 (measures 515-518) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 83-1 \u003c/strong\u003e\u003c/em\u003e(Tehrani, top line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 82\u0026rdquo;}[p. 101]: Similarity between Tehani method book exercise #137 top line and Rajabi motive 28 (measures 576-577) bottom line.\u003c/p\u003e\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFigure 83-2\u003c/strong\u003e\u003c/em\u003e (Rajabi, bottom line) {labelled in thesis \u0026ldquo;Liste of Figures\u0026hellip;\u0026rdquo; as \u0026ldquo;Figure 82\u0026rdquo;}[p. 101]: Similarity 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