Call for papers SIMF 1396

ACIMC-logo

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 Contradictions: Iranian Chords

Finding a way to harmonize the Iranian music has been the subject of controversy among Iranian musicians for a long time. Some believe in the creation of harmonies for Iranian music based on a method which is similar to the tierce harmony; while others have either selected or invented some other methods. There are also some musicians who do not basically agree with the harmonization of the Iranian music.

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.

From Past Days…

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Principles of Violin Playing (I)

The present series of training articles, “Principles of Violin Playing”, seek to help students, to appropriately understand this field, by gradually introducing, categorizing, and teaching the myriad relevant points. One of the principles of playing violin, which must be always kept in mind, is that the selection of the most natural position for the body parts while playing is the best and most appropriate solution. As a matter of fact, any unnatural body part position which requires lots of energy or unusual stretching to maintain, is wrong.

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Principles of Violin Playing (VII)

4.3.1.3 Regarding the great linear distance and the unusual distance between the first and forth fingers, the first finger while playing the doubles of ninth and tenth interval, can be twisted in the knuckle area and the point mentioned in 3.1.2.5 paragraph in relation to the way first finger is placed indicating that the first joint of this finger in back of hand must be in line with the direction of forearm and left hand is not true here.

ACIMC-logo

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.

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Ashoura Opera

Ashura Opera was composed by Behzad Abdi, the Iranian composer, in 2008 based on librettos compiled by Behrouz Gharib. The main source for the libretto is poems by Mohtasham Kashani, a sixteenth century Iranian poet.

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Hossein Dehlavi: the Composer

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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.

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HarmonyTalk Celebrates 11th Anniversary

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Layla Ramezan, Iranian Pianist

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Women Musicians in Large Iranian Orchestras

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New Technique for Playing Classical Guitar (II)

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