Translated by Mahboube Khalvati
The year 1396 (21 March 2017-20 March 2018) was the most sorrowful year for HarmonyTalk journal. One month after holding HarmonyTalk’s 13th establishment anniversary in Mohsen Ghanebasiri’s house in Tehran in April 2017, he passed away at the age of 68. Mohsen Ghanebasiri was the prominent HarmonyTalk author.
To pay tribute to Mohsen Ghanebasiri and his unique contribution to the literature and theory on the Iranian classical music, I decided to review concisely some of his most important theories.
I invited Mohsen Ghanebasiri to contribute to HarmonyTalk journal in 2006; a collaboration which lasted until 2016. During this decade, 16 of his articles were either published or re-published in the journal.
Apart from his full-time engagements as the editor-in-chief of “the Management” and “the Thunderbolt” magazines, and the authorship of five books including “Marx and Technology”, “A Question from Heidegger”, “Westernalization, Nostalgic Packing of History”, “Displays and Aspects of Democracy” and the unpublished “Power”, he wrote articles on arts which he never found the opportunity to fully develop into theories. They, therefore, serve as an introduction to his unwritten-but-much-spoke-about theories.
Ghanebasiri and Mohammad Saeed Sharifian, a contemporary Iranian composer, had started a collaboration to compose an opera. Ghanebasiri was writing the libretto which was again left unfinished. In collaboration with Behzad Abdi (Iranian composer) and Arian Karami, he was also recording two audio poem collections.
In order to introduce him as an arts critic and theorist, I have concisely reviewed some of the most important articles by Mohsen Ghanebasiri:
– Identifying teleological purposes of the classical arts
In his article entitled “On the Definition of the Classical Music”, Ghanebasiri evaluates the purposes of the classical arts. The article offers items which suggest an approach for value judgment of the works of classical music.
– Mediating devices theory
Mediating devices theory was developed based on a multi-dimensional and inter-disciplinary study to change the musical development ranging from improvisation to composing.
Mediating devices theory not only provides an opportunity to study the historical status of music in different periods and a geographically diverse classification of different civilizations, but also serves as an effective tool for criticizing arts and separating scientific and artistic fields in the world of arts.
– Definition of arts
The issue of defining arts was constantly discussed in the meetings that we had with Mohsen Ghanebasiri. I had considered two characteristics for identifying a work of arts: firstly, a work whose creation is far-fetched for the majority of the people. Secondly, a work which unties the existing knots. When I presented this definition to Mohsen Ghanebasiri, he brought to my attention a neglected aspect: the engagement of the active imagination faculty.
The added part plays a key role in completing this definition, because it allows the critic to distinguish between works that have no effect on the long term. This third component which was added by Mohsen Ghanebasiri completes the definition because the critic becomes capable of distinguishing the works of arts which are capable of becoming universally influential in extended period.
Finally, words do not suffice in explaining his depth of knowledge and level of modesty.
- Farshad Sanjari, Forgotten Iranian Conductor Met His Tragic End
- Gholam Reza Khan Minbashian: a pioneer in Iranian music (II)
- Gholam Reza Khan Minbashian: a pioneer in Iranian music (I)
- Polyphony in Iranian Music (VI)
- Prominent Iranian Musicologist Passes Away in Vienna
- Polyphony in Iranian Music (V)
- Violin’s inner mold, an essential factor in developing the idea of violin
- Three singers in one larynx
- Avaye Naerika Percussion Orchestra
- Polyphony in Iranian Music (IV)
- Polyphony in Iranian Music (III)
- Polyphony in Iranian Music (II)
From Past Days…
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.
The album “Guitar Memories” consists of the performance of baroque to recent era masterpieces, by Mehrdad Mahdavi, and is published by Tanin-e Honar Publication.
In this album there are pieces composed and arranged by artists such as: Sylvius Leopold Weiss, Johann Anton Logy, Fernando Sor, Yuquijiro Yocoh, Leo Brouwer.
Antonio Stradivari (1644 – 18 December 1737) was an Italian luthier and is considered the most significant and greatest artisan in this field.
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.
In the few days prior to the New Iranian year (March 2015), the news of the revival of Tehran Symphony Orchestra under Ali (Alexander) Rahbari’s conductorship was announced. Ali Rahbari, who served as assistant to Herbert von Karajan in Berlin Philharmonic Orchestra at a very young age, was also invited to conduct Tehran Symphony Orchestra in 2005; however, the election of Mahmoud Ahmadinejad’s government put an end to his collaboration with this Orchestra. Recently, it was announced that Rahbari is invited to conduct an orchestra in the U.S.
Tehran Flute Choir was established in 1394 (late 2015) by Firouzeh Navai. Tehran Flute Choir, Iran’s first largest flute choir, recruited its members mostly from young talented flutists of Iranian Flute Association. Featuring piccolo, flute, alto flute and bass flute, Tehran Flute Choir, directed by Firouzeh Navai, premiered under the batons of Saeed Taghadosi on January 7-8, 2016 at Roudaki Hall in Tehran.
The Association of Iranian Contemporary Music Composers (ACIMC) and SHAHREAFTAB Art & Cultural Association are pleased to announce a call for papers for SIMF 1396.
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.
One of the most popular terms used by Iranian instrumentalists is the existence or a lack of musical “sense”. Both musicians and fans of music consider having “sense” while playing music as an important principle to the extent that they use it vis-a-vis having technique.
Translated by Mahboube Khalvati The article you are about to read was written by Rouhollah Khaleqi (1906-1965), composer, and conductor of Golha Orchestra (established in 1956). Khaleqi was one of the most prominent promoters of polyphony for the Iranian music and is one of the best representatives of the school of Ali Naghi Vaziri. In…