Payam Taghadossi (born in 1989) started his musical education at the age of 4 years with Monika Scherbaum in Bregenz (Austria). At the Conservatory Feldkirch he joined the class of Imke Frank and Martin Merker. Later he studied in Zurich (Switzerland) with Thomas Grossenbacher and Christian Proske, where he 2011 graduated as a Bachelor of Arts in Music Performance. Two years later as the student of Rafael Rosenfeld he received his Master of Arts in Music Performance diploma and later graduated as a Master of Arts in spezialized Music Performance in 2016 from the Hochschule für Musik Basel FHNW.
Tag Archives: Payam Taghadossi
Latest posts
- Farhad Poupel: The Voice of the Shahnameh in the Orchestras Around the World
- Five Major Myths About Mozart’s Life
- Bahma Rajabi Passed Away!
- Reza Vohdani; Unveiling unpublished works, preservation of Iranian classical music
- Ahmad Pejman Passed Away!
- Timeless or Timely: The Role of Historical Context in Defining Artistic Value
- Leading the Charge in Censorship
- The Legacy of Khosrow Jafarzadeh
- Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (4)
- Fereydoun Shahbazian, An Iranian Musical Icon Passed Away
- Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (3)
- Journey to Iran Revisited: Celebrating 20 Years of Guity Adjoodani’s Return to Persian Roots
From Past Days…
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.
Polyphony in Iranian Music (III)
In heterophonic variant, two performers perform a single melody simultaneously and change it. Performing and changing a single melody simultaneously by two performers leads to the coincidence of different voices.
Inefficiency of some chords and harmonization systems in Iranian music
Discussions and research have been conducted on the harmonization of “dastgah” and melodies in Iranian music, and several books have been published on this topic, including “Armenian Music of Iran” by Ali Naghi Vaziri, “Harmony of Iranian Music” by Farhad Fakhreddini, and “Harmony of Iranian Music” by Ali Ghamssari. A master’s thesis titled “Presenting a Solution for Harmonizing Based on the Structure of Tritone Intervals” was written by Atefeh EinAli in 2014. Additionally, the invention and use of “Even Harmony” by Morteza Hannaneh should be mentioned.
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.
A year without Mohsen Ghanebasiri
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.
“The Art of Silence” Project Will be Released
Shaahin Mohajeri, the award-winning Iranian microtonal compose, has contributed to The Art of Silence is an international project which features unpublished pieces by microtonal composers from Iran, Japan, the United States, and other countries.
Homayoun Rahimian & Iran’s National Orchestra
The Roudaki Foundation presented the permanent conductor of the National Orchestra (Orchestr Melli), Homayoun Rahimian, in a ceremony, and finally, after four years, the national orchestra found a permanent conductor. Homayoun Rahimian is the fourth permanent conductor of this orchestra after Farhad Fakhreddini, Bardia Kiaras, and Fereidoun Shahbaziyan. He, who has previously had experience of conducting concerts besides being Meister’s concert of this orchestra, performed the concert “Autumns” on the 20th of Tir, performing works by Rouhollah Khaleqi, Javad Ma’roufi, and Hossein Dehlavi.
Polyphony in Iranian Music (II)
With regard to each polyphonic form, only one specific and distinguished example is analyzed. These polyphonic forms are as follows:
Women Musicians in Large Iranian Orchestras
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.
Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (1)
Transition to Enlightenment: Six Lectures on Mozart’s String Quartets* Basic Ideas and General Structure The Enlightenment, an epoch of intellectual fervor marked by reason, individualism, and cultural evolution, indelibly left its imprint on the arts. Mozart, a luminary of this transformative era, intricately wove these ideals into his compositions, particularly his string quartets. This article…
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