Despite the fact that Iranian folk music (regional music of Iran), like the Radif of Iranian traditional music, is monophonic and follows heterophony in principal, we experience polyphonic forms, albeit, majorly unconscious.

The collaboration between Mozart and Haydn blossomed during the late 18th century in Vienna, a city that served as the epicenter of musical innovation. Amidst this vibrant cultural milieu, the two composers developed a profound friendship that extended beyond mere professional admiration. This connection is reflected in the six string quartets dedicated by Mozart to Haydn, aptly known as the “Haydn Quartets.”

Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Hooks and attached rings: The junction of the ring to the arch is about 3 centimeters from the skin.  The ring with its side rings should be as far as the diameter of a ring (about one and a half to one and eight centimeters) to make a proper…
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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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Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Daf Structure The Structure of Daf in different cities of Iran has a great variety in terms of dimensions, components and even appearance; some of which are as follows: – Square Daf, on which the skin was stretched either on one or both sides, with strings installed inside it…
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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.

As such, the young Meshkatian reached the position of a great maestro in the Iranian music. Up until 1997, Meshkatian remained prolific and composed many pieces which were characterized by progressiveness while drawing on the music of the past Iranian musicians. In some of Meshkatian’s works, one can trace the influence of maestros such as Faramarz Payvar; however, this influence is so balanced that one can neither say that Meshkatian is a progressive and deconstructionist composer nor does he use cliché forms in his compositions.

The perspective that denies any alteration or innovation beneath the realm of Iranian music, and more broadly, the performance and even the structure of Iranian music instruments, stems from the discourse of “tradition-oriented”* and the “return to self” movement in Iranian music. Given that some educators still adhere to this discourse and emphasize the necessity of preserving tradition, a perception is formed among art students that Iranian music, including Radif, lacks dynamism and is confined within a rigid framework.

In the tradition of classical music, it is generally tried to use the same technical terms related to music in all countries. Even in the cultures in which native terms exist to refer to musical terms, usually the better known universal terms are employed.

Torqeh or jal is the same bird (Bimaculated lark) and is the name of a muqam which is well-known in Torbate Jam and those areas. Jal muqam is called Torqeh in Esfarayen and Bojnourd. This muqam which was used to be played by Bakhshis/Bagşies (dutar-players) in the past is seldom performed today.