“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Iranian microtonal compose, has contributed to The Art of Silence is an international project which features unpublished pieces by microtonal composers from Iran, Japan, the United States, and other countries.

The Art of Silence is a 36-page booklet with personal comments by the contributing musicians. The booklet also includes a DVD which consists of original video and audio tracks.
On 11 June 2017, the Belgian microtonal artist Paul A.R. Timmermans who had also managed the non-profir “Micrtona” Project in 2015, once again selected and invited international musicians to make contributions to the non-profit Art of Silence project. In his correspondence with potential contributors, Timmermans stated that he will bring forward the significance of silence for music and society, different views on interaction between music and silence, and “silence vs. music as a hot item in the 21st century”.
The musicians are selected and contacted due to their “specific artistic approach, their merits as an innovator (acoustically/ digitally/ soft) and of course for their relationship with silence.”
Shaahin Mohajeri, the award-winning Iranian microtonal composer, is also listed as one of the contributors to the project presenting one pieces entitled “For Paul”.
The prominent Iranian microtonal composer describes silence as below:
“If we consider music as painting, silence is an important color like the other colors which a composer or player uses to paint music. Silence must not be considered as a part without any sound and only waiting period; it should be rather considered as a time of active listening. Silence can relieve the listener’s tension when he or she follows a phrase, but it also builds tension as the listener awaits for next parts, much like a good conversation. When too many people talk about an idea this can be very hard and disturbing for the listener. So, knowing when and how to use silence is one of the key skills of any musician.”
In his microtonal music “For Paul”, you can hear a conversation between instruments. Shahin Mohajeri has made an effort in this piece to depict silence as a color and as part of his musical conversation as it was also explained above.
Watching the DVD-trailer on Youtube, you can provide the audience who are interested in microtonal music an overview of the non-profit project “The Art of Silence”. The video may be found at: https://youtu.be/M9KMG7dshqQ
The following picture shows quarter-tone tuning of Shahin Mohajeri’s music:

Shaahin Mohajeri is a percussionist and microtonal theorist and composer. He has won two international microtonal awards. He was won AEH and Muto Ethno2 Microtonal Demos Competition in 2010. He was announced as the Finalist in UnTwelve 2nd Annual Microtonal Composition Competitions for the Battle of Ahuramazda and Ahriman in 2011.
Source:
– Paul A.R. Timmermans’ Correspondence with Shaahin Mohajeri
– The Art of Silence Booklet

Post a Comment

Required fields are marked *
*
*
Your email is never shared.

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.

Five Major Myths About Mozart’s Life

Wolfgang Amadeus Mozart, the renowned Austrian composer, is undoubtedly one of the greatest geniuses in the history of classical music. However, his life is surrounded by numerous myths and legends, some of which are not based on facts. This article explores five of the most common misconceptions about Mozart’s life.

From Past Days…

Negation of Changes in Iranian Music: Embracing Tradition

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.

“Pledge of Love”

The “Pledge of Love” is the first album in a series composed based on the tasnifs by the renowned Iranian tasnif-maker Mohammad Ali Amir Jahed and recorded by Sahba Kohan Ensemble with Ramin Bahiraie as signer.

Polyphony in Iranian Music (V)

In addition to the above-mentioned, polyphony can be also formed when a melody is performed by several singers in different ambiances or different sound registers according to their physiologic abilities. An example of this has been performed in rituals of Khanqah of Ghaderi darawish of Mahabad[i].

Kayvan Mirhadi and O.R.P Qaurtet

Establishing O.R.P. Quartet is Kayvan Mirhadi’s latest activity as a guitarist, composer and conductor of Kamerata Orchestra. Besides working with this Quartet, Mirhadi is busy these days recording and mixing some of his own works as well as some pieces by 20th century composers. O.R.P Quartet performed a concert in Rasht, Gilan Province in late May 2016 and offered a master class.

Principles of Violin Playing (VIII)

1.5.1.3.sometimes, a player, due to different reasons, may decisively want to play continuously two notes with a half-step by means of the same finger, in such a case, it’s necessary to open the interior curve of the finger like a spring. Naturally coming back, the curve of finger should be closed and the finger should become curved shape again (see paragraph 3.1.2.1).

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.

Interview with the Makers of the New Qeychak (I)

On occasion of the 8th anniversary of launching HarmonyTalk Online Journal on 6 April 2012, Reza Ziaei, master luthier and researcher on classical music instruments (violin family), announced that the first phase of the project to improve Qeychak has borne fruit. The new instrument would feature a bowl of ribs and the material used for the surface would be wooden. Carrying out the second phase of the project took more than 7 years engaging the new members of Reza Ziaei’s Workshop. In this phase, new researches were conducted from different aspects on the Qeychak and the modern versions of the instrument which were introduced previously by other instrument makers. The available versions of the instrument were studied in terms of their weak and strong technical features.

Lilly Afshar, Iranian Guitar Legend, passed away

The text you are reading is about Hamed Fathi, a guitarist and one of Lilly Afshar’s students, which was previously published on the Persian website HarmonyTalk.com:

The response of the fired musicians to the interview of the managing director of Rudaki Foundation

Following an interview by Mehdi Salem, the director of the Rudaki Foundation, with the “Our Music” website, a response from the dismissed musicians was published in response to this conversation, which you read:

Illusion or Ingenuity?

Mohsen Renani in the preface of his book entitled “The Political Economy of nuclear conflict; an introduction to traversing the civilizations” writes: