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.

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.

The present series of training articles, “Principles of Violin Playing”, seek to help students, to appropriately understand this field, by gradually introducing, categorizing, and teaching the myriad relevant points. One of the principles of playing violin, which must be always kept in mind, is that the selection of the most natural position for the body parts while playing is the best and most appropriate solution. As a matter of fact, any unnatural body part position which requires lots of energy or unusual stretching to maintain, is wrong.

Violin players should always pay attention to the proper position of the left thumb and other points related to it and to its joining point to the palm.

In this project, my specialized responsibility  was the basic drawings of the desired instrument with the help of engineering and mechanical software.  I have also the carried out phases related to engineering designs, related variables, and volume and weight calculations under Mr. Ziaei’s direct supervision from the very beginning. Regarding the challenges of this work, suffice it to say that the set of designs for the instrument lasted more than 9 months in the final stage of the project only.

The world of music has unparalleled respect for Bach. Bach is considered the spiritual father of classical music; Bach’s great position is due not only to his great achievements in the fields of harmony, counterpoint, and compositional sciences but also to his respect for and adherence to the artistic principles of classical music. In the history of classical music, it is recorded that Bach walked about fifty kilometers to listen to the music played by the great German organist Dieterich Buxtehude, and this is the path that every idealistic classical music student should walk.

Amidst the popularity of traditionalism in the Iranian music, Parviz Meshkatian (1955- 2009) moved from Neyshabur to Tehran. He learnt to play Santour and became educated in the Radif of Iranian music at the Centre for Preservation and Promotion of Music which was at the forefront of promoting the return to musical traditions. Despite his studies at a centre which promoted the use of the phrase “traditional music” in Iran, Parviz Meshkatian emerged as a creative artist whose innovative and unique ideas attracted the admiration of Iranian artists and people from different walks of life. This article studies the reason behind Meshkatian’s deviation from the wrong approach of traditionalism strongly promoted by the Centre and argues that apart from the issue of theory of Iranian music, he can be considered as Ali Naqi Vaziri’s successor.

Iranian pianist Layla Ramezan has always sought to create a connection between her Persian origin and the contemporary music which she encounters daily. Sound, phrasing, a particular sense of rhythm and a refined understanding of the “time of musical development” are the foremost qualities of her interpretations. Her musical and pianistic education began in Tehran at the age of 8 with Mostafa-Kamal Poortorab. Having moved to Paris and received a scholarship from Albert Roussel Foundation, she integrated the classes of Jean Micault and Devi Erlih at the Ecole Normale de Musique de Paris Alfred Cortot, where she received a Diplôme de Virtuosité in piano performance and chamber music.

In heterophonic variant, two performers perform a single melody simultaneously and change it. Performing and changing a single melody simultaneously by two performers leads to the coincidence of different voices.

Hossein Aslani, Iranian pianist residing in the US, passed away due to cancer in late January 2020. His last musical activity was an article written for Harmony Talk entitled “Iran amidst musical struggle” in 2016, his memoir entitled “I Play You Again” in the same year and his album “Symbolic Emotion” published by Arganoun Publications in 2014. Here is a brief biography of Hossein Aslani according to his own website: