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.
21-25 November, 2017, Shiraz, Iran
Papers may address one of the following suggested topics, or any topics in the study of contemporary music:
• Theoretical Topics:
• Time in Music – Music in Time
• ‟Contemporariness” in music
• In Search of Contemporary Sound
• (none / contra) Identity in Contemporary Music
• The Problem of Authenticity in Contemporary Music

• Sociocultural Topics:
• The Infrastructures for / of Contemporary Music in Iran
• The Relation between Education and Contemporary Music in Iran
• The Role of Successful Institutional Models in Support of Contemporary Music
• The Relation between Culture Industry and Contemporary Music in Iran
• For / Against Identity Politics in Contemporary Music in Iran

• The Analysis of Contemporary Music since 2000

Registration Process:
To participate in Call for Papers SIMF 1396, please submit the following materials by October 7, 2017 using the link

1. Personal Information (to be filled in Persian or English)
2. Biography (in Microsoft Words format) and Curriculum Vitae (in Pdf format)
3. The original paper in both Words and PDF formats
• The paper should not be more than 4000 words and it should be written in Persian or English
4. An abstract not more than 150 words in Persian and English
5. The payment receipt of the registration fee
• The registration fee is 50,000 T and should be paid to the order of SHAHREAFTAB Art & Cultural Association in Mellat-Bank- 6268850179
Note: All submitted materials are only used for evaluation process and they will be archived at SIMF 1396 archive after the evaluation process

The Evaluation Process:
1. After reviewing the submitted papers, the scientific committee will invite up to 10 participants to present their papers at the SIMF 1396. The results will be announced by October 23, 2017 on ACIMC website.
2. Each participant has 20 minutes to present her/his paper and 10 minutes is reserved for questions and answers.
3. The invited participants will receive 50% discount for the accommodation expenses in Shiraz. Please note that the selected participants are responsible for their travel expense to Shiraz.
4. All selected papers will be published in ZANGAR Quarterly.

Scientific Committee: Sara Abazari, Ashkan Behzadi, Mohsen Mirmehdi, Arvin Sedaghatkish, Roozbeh Tabandeh

Please for further information contact via email: contact@a-c-i-m-c.org or by phone number: +98-7136474238

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Iranian Fallacies – Global Performance

One of the most important criteria for measuring the quality of a piece of classical music is number of times the piece has been performance by different ensembles and orchestras in different eras. This belief has become so pervasive in some societies, such as Iranian society, that it is considered the only criterion for measuring the quality of a piece of classical music.

Iranian Fallacies – School of Vaziri

The term “School of Vaziri” is often used in writings on Iranian music, but the exact meaning of the term is not clear; some of the authors have used the term to only refer to the group of Vaziri’s students, including a large group of his conservatory students and his Tar students such as Abolhassan Saba, Rouhollah Khaleghi, Ahmad Foroutan Rad, Hossein Sanjari, Heshmat Sanjari and others. But can we consider all Vaziri’s students as followers of his school of thought? This is definitely a mistake, because we know that some of Vaziri’s students have chosen a completely different path than that of Vaziri.

From Past Days…

Payam Taghadossi: Talented Iranian-Austrian Cellist

Payam Taghadossi (born in 1989) started his musical education at the age of 4 years with Monika Scherbaum in Bregenz (Austria). At the Conservatory Feldkirch he joined the class of Imke Frank and Martin Merker. Later he studied in Zurich (Switzerland) with Thomas Grossenbacher and Christian Proske, where he 2011 graduated as a Bachelor of Arts in Music Performance. Two years later as the student of Rafael Rosenfeld he received his Master of Arts in Music Performance diploma and later graduated as a Master of Arts in spezialized Music Performance in 2016 from the Hochschule für Musik Basel FHNW.

Principles of Playing Violin (VI)

B. applying force: the force needed for putting finger on finger board is applied through finger tips and using the rest of hand set especially wrist is not allowed. To practice this, it is possible to hold violin without the bow and throw the fingers on the finger board from 1-2cm distance; apply force only through finger tips.

Principles of Violin Playing (III)

Violin players should always pay attention to the proper position of the left thumb and other points related to it and to its joining point to the palm.

Prominent Iranian Musicologist Passes Away in Vienna

Khosrow Djafarzadeh, musicologist and architect, who was also one of the main authors of HarmonyTalk journal passed away on 15 July 2019.

Henry Cowell: “Persian Set”

Persian Set: Four Movements for chamber orchestra: Moderato; Allegretto; Lento; Rondo

Henry Cowell, one of the most innovative American composers of the 20th century, was born in 1897. Cowell and his wife visited Iran in 1956 and stayed there the whole winter, upon the invitation by the Iranian Royal Family, when he composed his album “Persian Set” in four movements for chamber orchestra. His composition is expressive of the characteristic quality of the Persian or the Iranian music.

Polyphony in Iranian Music (II)

With regard to each polyphonic form, only one specific and distinguished example is analyzed. These polyphonic forms are as follows:

The Mystery of Messiah

Antonio Stradivari (1644 – 18 December 1737) was an Italian luthier and is considered the most significant and greatest artisan in this field.

Principles of Violin Playing (IX)

4.3.1. To practice playing of doubles of notes involving two different fingers, each note is played at separate bows with slow tempo, each note is played perfectly regarding its bass and tenor sounds and then the considered double is played at another bow while considering the resulted sound of the double.

Iannis Xenakis’ Persephassa

Shiraz Arts Festival which was held in Shiraz from 1967 to 1977 featured many contemporary renowned artists who were commissioned by the Iranian royalty to compose or create works of art for performance in the arts festival. Iannis Xenakis (1922-2001) participated in Shiraz Arts Festival three times in 1968, 1969 and 1971. The Greek-French composer,…
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From the Last Instrumentalist to the First Composer (I)

Music as an art has its own special history; emergence of a singer, of an instrumentalist and then the emergence of the strong character of a composer covers three significant phases of the art of music. With the emergence of composer which was simultaneous with the emergence of the language of music, this art managed to offer a domain for criticism for its composer; a procedure which led to a magnificent variety and evolution in musical production. Even though the conflicts between singers and instrumentalists have not met their end in the Iranian society and while singers can achieve high, instrumentalists have yet to play behind curtains . In a special era, with the efforts of musicians such as Ali Naghi Vaziri (1887-1979) and Rouhollah Khaleghi (1906-1965), glimmers of a composing era started to glow bearing fruit in Khaleghi’s achievement as Iran’s first professional composer. Khaleghi made his reputation as a composer while Vaziri deserved to pioneer this path. By then Vaziri was well-known as a Tar player.