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Iranian microtonal compose, has contributed to The Art of Silence is an international project which features unpublished pieces by microtonal composers from Iran, Japan, the United States, and other countries.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

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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…

Three singers in one larynx

Sima Bina (b. 1945) is a unique singer among the singers of Golha radio programmes which were broadcast on Iranian National Radio for 23 years from 1956 to 1979. She received her first lessons in music from her father who was a poet, a musician and the most important supporter of Sima’s cultural activities.

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.

Polyphony in Iranian Music (I)

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.

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.

The Structure of Kurdistan Daf (I)

Today, percussion instruments have such a high place in music that are an essential element of orchestras. This has attracted many people to this type of instrument with roots as old as the first humans. A historical study of music, shows that humans used the sound of these instruments to defend themselves against wild animals and, over time, for alerting each other, signaling their readiness and encouraging people for war, ritual ceremonies, dances, etc. in a manner that is still clearly visible in music and some ritual ceremonies.

Musical Sense or Technique?

One of the most popular terms used by Iranian instrumentalists is the existence or a lack of musical “sense”. Both musicians and fans of music consider having “sense” while playing music as an important principle to the extent that they use it vis-a-vis having technique.

Maestro Hassan Nahid’s Role in Promoting the Ney

Maestro Hassan Nahid is one of the most prominent and distinctive artists who values high morals, discipline and hard work. His music activities include playing the Ney as both soloist and an accompaniment in the most important Iranian music orchestras and ensembles during the last fifty years, including the Orchestra of Iranian Instruments (Nusratullah Golpayegani), the Orchestra of National Instrumentalists of the Ministry of Culture and Arts (Payvar Orchestra), the Orchestra of Iranian Instruments (Morteza Hananeh) , Darvish Orchestra, Samaie Orchestra, Roudaki Orchestra, Maestros’ Ensemble, Aref Ensemble, as well as performances in various radio programs, many concerts in different countries, as well as a long teaching experience in the National Conservatory of Music, music universities and other music institutions to name but a few.

The Structure of Kurdistan Daf (VII)

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.

Polyphony in Iranian Music (IV)

Two choirs alternatively perform Veŝ Tavaré Na avaz (Transcription 5). The second group starts the avaz before the first group finishes it; consequently, two different voices coincide (Transcription 5, staves 2 and 5).

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.