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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Farshad Sanjari, Forgotten Iranian Conductor Met His Tragic End

Farshad Sanjari, one of the most renowned Iranian conductors in the 1970s in Iran died after fire broke in his apartment in Vienna on November 22, 2019. Farshad Sanjari was not involved in politics; however, he was one of the victims of the Iranian Islamic Revolution in 1979. After the victory of the Islamic Revolution, his name was never seen as the conductor of any programmes.

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

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From Past Days…

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.

Ashoura Opera

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Qanun, a feminized instrument?

In the world music culture, there are instruments which were traditionally associated with a certain gender. It remains disputable to what extent these gender-based perceptions have been logical and scientific. For example, as playing wind instruments need more breath strength and the public opinion believe that men have stronger breath compared to women, these instruments are predominantly a male domain. Harp is also considered a female instrument as the public opinion believe that women have finer fingers and can therefore better perform nuances and delicate techniques on the instrument.

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From the Last Instrumentalist to the First Composer (II)

Rouhollah Khaleghi was the master of composing beautiful melodies. He was the premier of the course of history which was first established by Ali Naghi Vaziri and which improved the Iranian music from simply a gathering music to the classical music of the country. First efforts to compose independent and instrumental music can be also traced in Khaleghi’s works.

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.

Polyphony in Iranian Music (V)

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Quality Decline in Regional Music Festivals

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Tehran Flute Choir Established

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