Conclusion

“Daf” is one of type of percussion instruments that has a long history and is commonly known as circular instruments (with a rim). In some tribes, Daf was used as the main instrument in festivity and joy ceremonies; in another tribe it was used as the main instrument for war and campaign ceremonies and some others used it for ritual and religious ceremonies.

Davoud Pirnia, writer and musicologist was the founder of “Golha” (Flowers of Persian Song and Music) programs on Tehran Radio (1956-1966). He received his early education from his father, Hassan Pirnia (Moshir al-Douleh), and several tutors of the time (Taraghi, interview, July 1989) and continued his studies at Saint Louis School in Tehran and then in Switzerland and graduated in law. While studying law, Pirnia got acquainted with European classical music. Upon returning to Iran, he was employed by the Ministry of Justice and founded the Lawyers’ Guild. Then he was transferred to the Ministry of Finance and established the Department of Statistics in this ministry. Later, he became the head of the state inspection office at the Prime Ministry; he was, then, promoted to the position of the Deputy Prime Minister (Navab Safa, interview, August 1999)

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.

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.

The 4th Iranian Festival of Music Websites and Weblogs was held in Niavaran Cultural Center, in Tehran, Iran on Feb. 28th, 2015. The initiator of the festival was Sajjad Pourghanad, Iranian music writer, researcher, founder of the festival and Persian setar and tar player.

Golnoush Khaleghi, first Persian woman conductor and daughter of legendary composer Rouhollah Khaleghi, passed away on February 14. She was 80. Golnoush Khaleghi was the conductor of the NIRT (National Iranian Radio & Television) Choir in the 1970s. Shortly after the 1979 Islamic Revolution Ms. Khaleghi moved to the United States and founded the Rouhollah…
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While the name “Persia” (Western historical name of Iran) has attracted tens of thousands of people from around the world to London’s British Museum to visit ancient Persian artifacts, the Nuremberg-based music company, Colosseum, invites Europeans to listen to eight masterpieces of Persian symphonic music.

Bahman Rajabi, the renowned tonbak (Persian goblet drum) player and educator, passed away at his home at the age of 86 due to a heart condition. He was the founder of a distinctive school of tonbak playing, and his teaching methods have been widely used by instructors of the instrument for decades..

Regarding the classification of a new instrument in an instrument family, one can point to a number of fundamental issues, one of the most obvious of which is the instrument’s visual features. If we look at how the new instrument has changed compared to its historical versions, the set of visual elements that link the instrument to the Qeychak family becomes apparent. But other characteristics such as the geometric dimensions of the instrument, characteristics of the instrument’s various parts and how they relate to each other, its systematic performance, its sound range (compared to modern versions), the material and color of the sound, the way it is played and the like, can be considered in order to classify the instrument in the Qeychak family.

The term “School of Vaziri” is often used in writings on Iranian music, but the exact meaning of the term is not clear; some of the authors have used the term to only refer to the group of Vaziri’s students, including a large group of his conservatory students and his Tar students such as Abolhassan Saba, Rouhollah Khaleghi, Ahmad Foroutan Rad, Hossein Sanjari, Heshmat Sanjari and others. But can we consider all Vaziri’s students as followers of his school of thought? This is definitely a mistake, because we know that some of Vaziri’s students have chosen a completely different path than that of Vaziri.