Prominent Iranian Musicologist Passes Away in Vienna

Translated by Mahboube Khalvati
Khosrow Djafarzadeh, musicologist and architect, who was also one of the main authors of HarmonyTalk journal passed away on 15 July 2019.
Born in 1941 in Hamedan, Iran, Djafarzadeh finished his secondary studies in Iran and moved to Vienna, Austria to study architecture. Even though he learnt to play violin at the age of 12, in Europe he devoted himself to architecture and the study of Europe’s history, culture and civilization.
One of his early writings entitled “experimental theatre in Vienna’s house of artists” which concentrated on the European culture and civilization was published in 1975. In the same year, the Iranian musician, Houshang Zarif visited Vienna to introduce the Iranian music to Europeans when Djafarzadeh obtain the opportunity to meet Zarif. Seizing this opportunity, Djafarzadeh managed to learn to play Tar under the supervision of one of the most virtuoso Iranian Tar players. Meanwhile he felt the urge to study about Iran’s history and culture concentrating on music history.
Amidst these developments one cannot ignore the role his wife, Professor Forough Karimi from Vienna Academy of Fine Arts played.
At the same time, Djafarzadeh established the Society of Iranian Artists in Vienna and published a quarterly entitled “Vienna’s souvenir” (Rahavard Vien) and staged musical performances with different ensembles including Shiraz Ensemble. Society of Iranian Artists in Vienna organized a variety of cultural and artistic programs for Iranian artists, and these activities led Jafarzadeh became familiar with musicians including Mohammad Reza Shajarian, Hossein Alizadeh, Mohammad Reza Lotfi, Shahram Nazeri, Parviz Meshkatian, Dariush Talaie, Aliakbar Shekarchi, Kayhan Kalhor and Arshad Tahmasebi.
Djafarzadeh’s main academic and educational background was in architecture, and music had always been his second favorite field, though today the value of his work in music is no less than the value of his architectural pursuits. For the past several years, Djafarzadeh had been working on “vulgarity” in the scientific discourse of Iranian music. He argues that the lack of a scientific language in the discourse of the Iranian music has been the main reason behind lack of consensus among theorists of the field and the inefficiency of conventional theories of the Iranian music.
In 2019, the second edition of Djafarzadeh’s first book “Iranian-music”-ology was published by Art of Music publication. The research consists of three chapters namely “systems of sounds in music”, “metre and rhythm in the Iranian music” and “performance of the Iranian music” which feature interesting and original research on the Iranian music. In “systems of sounds in music”, Djafarzadeh proposes a new approach for theorizing Iranian music by analyzing modal “gousheh”s in Radif instead of introducing all the goushehs in the Iranian Radif.

Djafarzadeh goes even further than the current established Iranian modes available in the radif and introduces “combined mughams” (modes) introduces new modes by bringing various examples of combination of different modes of folk music, Iranian music and even Turkish and Arabic music.

Post a Comment

Required fields are marked *
*
*
Your email is never shared.

Nasser Masoudi: The Voice of Gilan and a Legacy of Iranian Music

In Iranian music, certain singers have become emblematic of their homelands through their distinctive voices. Historical figures such as Eghbal Sultan, who epitomized the grandeur of Azerbaijani music, and Taj Isfahani, who conveyed the authentic essence of Isfahan, serve as notable examples from the Qajar era. Nasser Masoudi occupies a similar position; his voice emerged as a symbol of Gilan while also achieving national acclaim. Before him, Master Ahmad Ashurpur represented Gilan’s musical landscape, but his extended residence outside Iran limited his continuous engagement in the music scene. In contrast, Masoudi’s consistent presence allowed him to introduce the voice of Gilan to audiences across Iran.

Farhad Poupel: The Voice of the Shahnameh in the Orchestras Around the World

In an era when almost no trace of contemporary Iranian music can be heard in international concert halls, except (so-called!) avant-garde works that owe their existence solely to the fashionable slogans of the “pseudo-intellectual” crowd who have seized the already meager resources for performing classical music from the true artists of the field, the numerous performances of Farhad Poupel’s works shine as a ray of hope for lovers of sincere musical art. Without resorting to trendy slogans, he has kept the flame of Iranian classical music alive purely through the power of his artistry.

From Past Days…

Hossein Aslani passed away!

Hossein Aslani, Iranian pianist residing in the US, passed away due to cancer in late January 2020. His last musical activity was an article written for Harmony Talk entitled “Iran amidst musical struggle” in 2016, his memoir entitled “I Play You Again” in the same year and his album “Symbolic Emotion” published by Arganoun Publications in 2014. Here is a brief biography of Hossein Aslani according to his own website:

Farhad Poupel’s piece, Road to Bach, performed at Suntory Hall

On June 19, 2021 , young Iranian composer and pianist, Farhad Poupel’s piece, Road to Bach, was performed at the prestigious Suntory Hall by the great Japanese pianist, Kotaro Fukuma. The piece was commissioned by Kotaro Fukuma to have its world premiere in Suntory Hall during a concert by the same name.

Developments in Iranian Music Since Qajar Era (II)

Santour:
Nine-bridge and twelve-bridge Sanours were both used until the early Pahlavi dynasty. However, as Faramarz Payvar devised new methods for playing the nine-bridge Sanour, this variety of the instrument which was hammered by felted sticks became popular.

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.

From Tradition to Trend: The Evolution of Decorative Arts in Iranian Dafs

Daf is one of the percussion instruments associated with the Kurdistan region of Iran, which has a special place in Iranian music. In the past, animal skin was used for the drum head, but now most of the tambourines in the market are made with artificial skin, which are designed with various decorations.

Iranian Fallacies: 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.

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,…
Read More »

A Persian Nocturne for Piano

A Night in a Persian Garden is the name of a Nocturne composed by the Persian (Iranian) contemporary composer Behzad Ranjbaran. This Nocturne, published recently by the Theodore Presser Company in the US, was performed for the first time in 2002 in New York City by the young Persian pianist Soheil Nasseri and has enjoyed many performances by other pianists.

Principles of Violin Playing (II)

Since for playing violin, it’s necessary that the player’s palms and fingers be inclined toward the fingerboard, therefore, the player, while bringing up his hand, should turn it toward the fingerboard.

Developments in Iranian Music Since Qajar Era (I)

At the end of the Qajar era and as Iran entered the power transition period, known as the constitutional era, the Iranian music went through a lot of changes. These changes gained momentum as the students and followers of Ali Naqi Vaziri’s entered the musical scene. These changes greatly influenced designs of instruments, playing methods, singing, composing, etc.