The 4th Iranian Festival of Music Websites and Weblogs

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.

At the begenning of the program, the presenter of the last day of the festival, Younes Mahmoudi, came on the stage to invite Saeed Yaghoobian (Persian tar), Dr. Peyman Nasehpour (Azerbaijani dayereh), and Shayan Yazdizadeh (tonbak) to perform the Azerbaijani art music pieces on the stage. After this music performance, the clip specially made for the 4th Festival was presented. Then Mahmoudi invited Seyyed Abbas Sajjadi, the CEO of Niavaran Cultural Center to deliver his speech on the Center’s activities and the 4th Festival.

After Sajjadi’s speech, the Choir of Arasbaran Culture-House came on the stage to perform some pieces of Handel, conducted by Serjik Mirzaeian. After the performance of the Choir, Dr. Mohammad Reza Azadehfar came on the stage to give a speech as an agent of the Juries of 4th Festival.

After Azadehfar’s speech, Peyman Soltani (Persian tar), Mehdi Emami (vocals), and Shaahin Mohajeri (tonbak) gave a Persian art music performance. Then Shahram Saremi (Iranian kamancheh player and artistic director of Arasbaran Culture-House) was invited to come on the stage to be appreciated for his help to the previous annuals of Iranian Festivals of Music Websites and Weblogs by dedicating to him the Statue and Letter of Recognition of the Festival.

Then a couple of musicians and music researchers were invited to come on the stage to deliver the awards of winners listed as follows:

1. Music website winner: MusiceIranian.ir run by Ebrahim Molaie
2. Music weblog winner: Neyrizmusic.blogfa.com by Saeed Mostafizi

Winners of Research Articles: 1. Nasim Ahmadian 2. Jafar Goudarzi 3. Shaahin Mohajeri – Soudeh Mofidi

Winners of Journalistic Articles: 1. Vahid Eftekhar Hosseini 2. Hossein Salimi

Winners of Notes on Music: 1. Babak Valipour 2. Ali Najafi Maleki 3. Ali Sharifi

Winners of Music Critiques: 1. Saeed Yaghoobian 2. Farhoud Safarzadeh 3. Mohammad Javad Sahafi – Meysam Pourtajrishi

Other Winners of Festival include: Kamyar Salavati, Farshad Tavakoli, Mehdi Forouzian, Mohammad Khalilian, and Bita Yari.

The final part of the 4th Festival was the performance of Arghanoun Flute Ensemble conducted by Ebrahim Nazari. The Arghanoun Flute Ensemble performed some pieces such as “Ninay-va-Bi Nay”, a Lorestani folk song and “Raghs-e-Dayereh” composed by Heshmat Sanjari.

The website of this Iranian Festival for Music Websites and Weblogs is: MusicFestival.ir. This time, the juries for this competitive festival were Mohsen Ghanebasiri (Iranian an epistemologist, chemist, author and theorist on economy, culture, arts (cybernetics) and management), Shahram Saremi (Iranian kamancheh player), Dr. Mohammad Reza Azadehfar, Dr. Pirooz Arjmand, and Dr. Narges Zaker Jafari. Beside the helps of Shahram Saremi, one of the other musicians who also supported this festival was Dr. Mohammad Sarir, Iranian composer and pianist.

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…

A Look at Ali Tajvidi’s Manifold Musical Activities (I)

Ali Tajvidi (1920 – 2004), one of the most prominent Iranian musicians, passed away sixteen years ago. He was one of the most distinguished Iranian artists. To specify one of the fields in which he was unique, one can refer to Tasnif composition. A brief review of his manifold musical activities is presented below.

Avaye Naerika Percussion Orchestra

Avaye Naerika Percussion Orchestra is an Iranian percussion orchestra featuring 40 lady percussionists. The Orchestra was established as Iran’s largest all-female percussion orchestra in 2008 by Ms. Minoo Rezaei under the title Naerika Percussion Orchestra and changed its name to Avaye Naerika in 2017.

Rare documents of Tehran Opera Company published in Europe

The year 2020 marks the 10th anniversary of Evlin Baghcheban’s death. She played a crucial role to promote opera and choral music in Persia (Iran). Born to an Assyrian-French family in Turkey, she studied singing and piano at the Ankara State Conservatory. In 1950 Evlin married the Persian composer and fellow student Samin Baghcheban and moved to Tehran.

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.

Qanun, a feminized instrument?

In the world music culture, there are instruments which were traditionally associated with a certain gender. It remains disputable to what extent these gender-based perceptions have been logical and scientific. For example, as playing wind instruments need more breath strength and the public opinion believe that men have stronger breath compared to women, these instruments are predominantly a male domain. Harp is also considered a female instrument as the public opinion believe that women have finer fingers and can therefore better perform nuances and delicate techniques on the instrument.

Iranian Fallacies – Composition and Arrangement

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.

Harmony in the Iranian Music (II)

One of his works was the translation of Harmony, which was carried out with the help of Mozayyan al-Dowleh, and included a pamphlet based on which he used to teach the subject to the students of the school of music; the pamphlet was never published. It was, in fact, a kind of simple harmony for the piano with no quadriads, it rather featured the engagement of both the right hand and the left hand which was being taught at the music school for the first time. Salar-Mo’azez also composed military marches and hymns for schools, which he harmonized to be performed and piano. Likewise, he used to compose for military orchestras.

Principles of Violin Playing (VII)

4.3.1.3 Regarding the great linear distance and the unusual distance between the first and forth fingers, the first finger while playing the doubles of ninth and tenth interval, can be twisted in the knuckle area and the point mentioned in 3.1.2.5 paragraph in relation to the way first finger is placed indicating that the first joint of this finger in back of hand must be in line with the direction of forearm and left hand is not true here.

The Legacy of Khosrow Jafarzadeh

This year marks the fifth anniversary of the passing of Khosrow Jafarzadeh (Khosrow Djafar-Zadeh), a distinguished architect and pioneering researcher of Iranian music, whose contributions to the magazine “Harmony Talk” have left an indelible mark on the field. The absence of this remarkable individual has significantly impacted the expansion and advancement of his theories, which are heralded as some of the most progressive in the history of Iranian music

Ali Rahbari & Recording Iranian Symphonic Compositions

In the few days prior to the New Iranian year (March 2015), the news of the revival of Tehran Symphony Orchestra under Ali (Alexander) Rahbari’s conductorship was announced. Ali Rahbari, who served as assistant to Herbert von Karajan in Berlin Philharmonic Orchestra at a very young age, was also invited to conduct Tehran Symphony Orchestra in 2005; however, the election of Mahmoud Ahmadinejad’s government put an end to his collaboration with this Orchestra. Recently, it was announced that Rahbari is invited to conduct an orchestra in the U.S.