“Pledge of Love”

The “Pledge of Love” is the first album in a series composed based on the tasnifs by the renowned Iranian tasnif-maker Mohammad Ali Amir Jahed and recorded by Sahba Kohan Ensemble with Ramin Bahiraie as signer. The album was released by Mahoor Institute of Culture and Arts in September 2015.

In this album, Sadjad Pourgahnad has re-composed Amir Jahed’s tasnifs’ by adding phrases and by making polyphonic the already existing ones. Pourghanad has also composed an overture entitled “Trannom” in which all instruments introduce themselves through the parts they play. The album cover written by composer reads:
“The current album results from the approach to the Persian music which was founded 90 years ago by Ali Naghi Vaziri and was followed by his students and colleagues and which has survived up to this day. In this school, there are no limitations for employing non-Persian musical techniques in composing; therefore, different techniques are used as long as they do not disturb the context of the Persian music.
“Due to unrestricted use of composing techniques some of which are totally new to the Persian music, works composed by the composers who follow this school have two important characteristics: 1. More variety and expanding composing horizons 2. Persian music becomes more attracting for those who are used to the Western classical music’s polyphony and are capable of following different sound lines.
This album consists of 6 Tasnifs by Mohammad Ali Amir Jahed which I have re-composed. In re-composing these Tasnifs, vocal parts are left intact while I have re-written the instrumental parts.
“In this album, I have tried to employ harmony, counterpoint and orchestration techniques for Iranian instruments to the extent that it does not disturb the context Amir Jahed had created. Based on each piece’s ambience, various polyphony and orchestration techniques are drawn upon the understanding of which is not challenging for trained listeners and those with the ability to follow multiple lines; however, those who are less familiar with polyphonic music might find them tough. Therefore, it is recommended that they listen to the album at least three times before they judge it!
“In the past several decades, one of the obstacles on the way of composing for an orchestra of Persian instruments has been the excessive use of percussion instruments to the extent that rhythmic variety has turned into an indispensible tradition for Persian orchestras. This tradition has made composers evade writing calculated and challenging counterpoints and impose the rhythmic variety and the continuous bass line to the audience in a primitive and deficient manner. Consequently, in this album percussion instruments were deliberately avoided so that in their absence counterpoint can play its role efficiently.
“This album includes some of the undiscovered or less listened-to Tasnifs by the great master of Iranian Tasnif-writing, Mohammad Ali Amir Jahed. I hope that the new approach applied to re-composing these Tasnifs adds to their beauty – Sadjad Pourghanad.”

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 Ahmad Pejman Passed Away!

Composer and music teacher Ahmad Pejman (1935–2025) passed away on August 29 in Los Angeles, USA, after several weeks of illness. His most recent symphonic work performed in Iran was Land of the Brave (“Sarzameen-e Delavaran”), which was staged in 2017 with the Tehran Symphony Orchestra. According to the family’s decision, his body will be laid to rest in the United States.

Timeless or Timely: The Role of Historical Context in Defining Artistic Value

Imagine that, in the course of historical research, we discover a musical piece whose compositional techniques (including form, melody, texture, and orchestration) resemble those of a second-rate 19th-century composition. But further investigation reveals that this work predates that period by 200 years. Can we still deem it insignificant? Certainly not. Here, the first major role of historical judgment becomes evident.

From Past Days…

A Note on the Occasion of Houshang Zarif’s Demise

No introduction is needed when talking about the position of the late Houshang Zarif (1938-2020) in the Iranian music. His character and personality are so well-known among musicians that his name per se is a symbol and role model for the Iranian youth. “Becoming Houshang Zarif” is the dream of many young people who enter the world of music in Iran and many of whom retire regretting the realisation of this dream.

Call for papers SIMF 1396

The Association of Iranian Contemporary Music Composers (ACIMC) and SHAHREAFTAB Art & Cultural Association are pleased to announce a call for papers for SIMF 1396.

Principles of Violin Playing (II)

Since for playing violin, it’s necessary that the player’s palms and fingers be inclined toward the fingerboard, therefore, the player, while bringing up his hand, should turn it toward the fingerboard.

A Look at Ali Tajvidi’s Manifold Musical Activities (II)

Tajvidi thought of studying harmony and orchestration with Houshang Ostvar (who was eight years younger than him) at a time when he had gained a reputation among musicians. His humbleness, making him willing to kneel before the scholars at any age and position, became the key to his scientific success. After this period, Tajvidi made some of his works polyphonic, the most prominent of which is “Burn” set to a poem by Abdullah Ulfat. However, his ability to make his works polyphonic was not so great to make him self-sufficient; so he depended on musicians such as Farhad Fakhreddini, Fereydoun Naseri, Kambiz Roshanravan, Fereydoun Shahbazian and Morteza Hananeh for the arrangement of his compositions.

Developments in Iranian Music Since Qajar Era (III)

Developments in Composing

Along with developments in the Iranian instruments, composition of the Iranian pieces developed as well. As a matter of fact, the developments of the two, mutually affected each other. In other words, instrumental developments led to developments in composition and vice versa.

Polyphony in Iranian Music (I)

Despite the fact that Iranian folk music (regional music of Iran), like the Radif of Iranian traditional music, is monophonic and follows heterophony in principal, we experience polyphonic forms, albeit, majorly unconscious.

Gholam Reza Khan Minbashian: a pioneer in Iranian music (I)

Gholam Reza Khan Minbashian, a.k.a Salar-Mo’azez, was a pioneer in several domains in the history of the Iranian music. He is recognized as the first Iranian musician who was educated in classical music. He is also the first Iranian the score of whose works were published in Europe. He is the first Iranian to have launched courses on Western classical music and was also the first Iranian teacher of classical music. Moreover, he is the first founder of a string orchestra in Iran, the first author of the Iranian Radif which was available in oral form. Minbashian is also the first Iranian who studied music in Europe.

Maestro Hassan Nahid’s Role in Promoting the Ney

Maestro Hassan Nahid is one of the most prominent and distinctive artists who values high morals, discipline and hard work. His music activities include playing the Ney as both soloist and an accompaniment in the most important Iranian music orchestras and ensembles during the last fifty years, including the Orchestra of Iranian Instruments (Nusratullah Golpayegani), the Orchestra of National Instrumentalists of the Ministry of Culture and Arts (Payvar Orchestra), the Orchestra of Iranian Instruments (Morteza Hananeh) , Darvish Orchestra, Samaie Orchestra, Roudaki Orchestra, Maestros’ Ensemble, Aref Ensemble, as well as performances in various radio programs, many concerts in different countries, as well as a long teaching experience in the National Conservatory of Music, music universities and other music institutions to name but a few.

Polyphony in Iranian Music (V)

In addition to the above-mentioned, polyphony can be also formed when a melody is performed by several singers in different ambiances or different sound registers according to their physiologic abilities. An example of this has been performed in rituals of Khanqah of Ghaderi darawish of Mahabad[i].

The Role of Arts in Development of Societies

Mr. Mohsen Ghanebasiri, author and critic in the field of economy, culture and arts, as the next speaker, highlighted the role of arts, specially the music, in development of societies: “As far as the individual upbringing is concerned, a newborn baby is absolutely dependent. The relation between the baby and the parents is based on orders. There is lots of relativity in these orders; therefore, they are political orders. In the economy, however, the relations are mutual and based on common logic; hence, the formation of the concepts of democracy and individuality.