Translated by Mahboube Khalvati
One of his works was the translation of Harmony, which was carried out with the help of Mozayyan al-Dowleh, and included a pamphlet based on which he used to teach the subject to the students of the school of music; the pamphlet was never published. It was, in fact, a kind of simple harmony for the piano with no quadriads, it rather featured the engagement of both the right hand and the left hand which was being taught at the music school for the first time. Salar-Mo’azez also composed military marches and hymns for schools, which he harmonized to be performed and piano. Likewise, he used to compose for military orchestras.
Some musical pieces by Salar-Mo’azez are available in the library of the National Conservatory of Music including a piece entitled “Maour Fantasy” and several “pish daramad”s (overtures) and “reng”s.
It is worth mentioning that in the composition of the above-mentioned pieces, the intervals of the Iranian music, i.e. quartertones, are eliminated and are replaced with half tones. Salar-Mo’azez intentionally selected Mahour and Esfahan modes so that the removal of quartertones does not cause any flaws in the pieces.
However, at the very beginning of the process of harmonizing Iranian music, two faults occurred. Firstly, no attention was paid to the selection of specifically Iranian modes and scales and, therefore, no method of harmony which is appropriate for the Iranian music was deviseds.
Secondly, in general, the harmony is too simple and is actually written for a brief piano accompaniment. This method was adopted by the music school graduates. Additionally, the issue of harmonizing other specifically Iranian modes was not taken into concentration.
When Mr. Ali Naghi Vaziri returned to Iran in 1923 and founded High Conservatory of Music in Tehran, he first decided to recompose Persian music pieces, without causing any defect in their original form by keeping their original intervals. The task was not without faults when it came to Shour and Segah modes, Vaziri, however, conducted the experiment.
- Avaye Naerika Percussion Orchestra
- Polyphony in Iranian Music (IV)
- Polyphony in Iranian Music (III)
- Polyphony in Iranian Music (II)
- Polyphony in Iranian Music (I)
- Behzad Abdi’s opera Rumi was physically released by Naxos
- Developments in Iranian Music Since Qajar Era (III)
- Developments in Iranian Music Since Qajar Era (II)
- Developments in Iranian Music Since Qajar Era (I)
- Harmony in the Iranian Music (II)
- Harmony in the Iranian Music (I)
- A year without Mohsen Ghanebasiri
From Past Days…
Gholam Hossein Banan was born in 1911 in Tehran. He was born in an affluent art-loving family who were Naser al-Din Shah Qajar (1848-1896)’s relative. The Qajar King was his mother’s uncle on her father’s side. He learnt his first lessons in music while his father sang Iranian avaz (improvised rhythmic-free singing), he then attended classes by the renowned Iranian composer, Morteza Neydavoud (1900-1990) along with his sisters; the composer is, therefore, considered as his first teacher. He then learnt Iranian avaz under the supervision of Mirza Taher Zia Resaee (Zia-o Zakerin) and Naser Seif in an oral manner.
It is more than a century now that the sociologists consider the presence of women in different social domains as a benchmark for a society’s progress. They analyze the presence of women in society by the means of available statistics. Unfortunately, as with regard to the Iranian society, statistics related to women’s engagement, has not been available to the researchers, if they existed at all.
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.
Two choirs alternatively perform Veŝ Tavaré Na avaz (Transcription 5). The second group starts the avaz before the first group finishes it; consequently, two different voices coincide (Transcription 5, staves 2 and 5).
Creating sound continuity between two notes in the source and destination positions when left hand position changes and “two different finger numbers” are involved is called portamento. Portamento can be performed on single string or two neighboring strings and with hand moving on fingerboard either upward or downward.
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 untimely passed away. Mohsen Ghanebasiri was the prominent HarmonyTalk author.
With regard to each polyphonic form, only one specific and distinguished example is analyzed. These polyphonic forms are as follows:
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.
With Dehlavi it is not all about fame but recognition. Hossein Dehlavi is not a popular musician (like pop singers) whom everybody might know when he is walking on streets of Tehran; however, he is recognized by both amateur and distinguished musicians of the country.
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.