The life territory of the female-male relations in the Iranian cultural context is basically a domestic territory and not a social-living one in the labour and leisure domains. To prove this, it only suffices to consider the Iranian men’s viewpoints about women. For the Iranian men, there are three perspectives regarding the women: mother, sister and wife. Mother represents the emotional territory; sister represents the logical territory at home while wife represents the sexual territory.

In response, it should be said that it is better for the national anthem of a country to use the musical material exclusive to that country; however, some problems might come up in doing so the most important of which include: lack of familiarity of other countries’ music performer with the concerned country’s specific music intervals and special musical technique; and secondly, the strangeness of that music to the foreign listener.

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.

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.

The name of Maestro Hassan Kassai is so vehemently intertwined with Ney (Persian reed flute) that one cannot imagine one without the other immediately coming into mind. Ney is one of the instruments which went through a lot of ups and downs in the history of the Iranian music since the time of Sassanid kings to the time when shepherds found playing it consoling when they took their cattle for grazing. However, Nay could never demonstrate its main capacities to gain a stable position among the musicians and the people like other instruments including Oud, Tar, Santour, all sorts of bowed string instruments and plucked string instruments.

The alleged similarity between the Iranian and South Korean National Anthems has been a matter of discussion among musicians in Iran for several years. Earlier in 2021, the issue was taken to the media again with not only claims that the anthem is very similar to another song but also the suggestion that its musical content should draw more on the Iranian national music. Some even went to the extent to suggest replacing it with the song “O, Iran” composed by the late Rouhollah Khaleghi. Before delving more into the main issue, it would not go amiss to consider some technical characteristics of the song “O, Iran” composed in 1944.

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…
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In the world of classical music, the position of soloist has always been exceptional. Apart from the technical ability that many orchestral musicians also have, the soloist must also have a special power to be able to present a different and unique perspective of a piece. The soloist must maintain its special power of expression not only in solo roles but also when interacting with the orchestra.

Fantasia on One Note was my first professional work for piano, which had its world premiere by the great pianist Peter Jablonski in Sweden, and it has been performed by various pianists in the UK, Germany, France, and the Czech Republic. The recording of this work has also been broadcast on the Dutch public radio, NPR Radio 4.

In a momentous celebration of two decades, the “Arasbaran Cultural Center” was the stage for the 20th anniversary of “Harmony Talk”, an online journal that has become a cornerstone in the music community. Sadjad Pourghanad, the editor-in-chief, delivered a speech that resonated with gratitude and vision.