HarmonyTalk Journal’s Twentieth Anniversary Celebration

On the 10th of Khordad, 1403 (equivalent to May 30, 2024), the twentieth anniversary celebration of the online journal “HarmonyTalk” took place at the Ersbārān Cultural Center. The event garnered such interest from enthusiasts that the venue was completely filled.


At the beginning of the program, after a warm welcome by the experienced host, Sofia Monshipour, a video clip showcasing twenty years of the journal’s activities was played. Following that, the National Youth Orchestra of Iran, led by Arvin Sedaqatkish (who is also one of the authors of HarmonyTalk), performed pieces composed by Hossein Dehlavi and Parviz Meshkatian.

Later, Sadjad Pourqannad (the editor-in-chief of HarmonyTalk) presented a report on the journal’s two decades of activity. This comprehensive report will be published in upcoming issues of the journal.


Subsequently, Babak Khazraei was invited to speak. He emphasized the importance of sustaining HarmonyTalk’s activities and shared his initial acquaintance with the journal. Khazraei noted that over time, HarmonyTalk has evolved toward a more scholarly approach.

Khazraei also recalled how, twenty years ago, there were predictions that print magazines would soon cease to exist, and today, we see that this prediction has indeed come true.

Babak Khazraei’s Conclusion: Babak Khazraei concluded by expressing his hope to witness the magazine’s 30th and 40th anniversary celebrations and its continued operation.

Invitation to Mohammadreza Fayyaz: After Babak Khazraei’s speech, Mohammadreza Fayyaz was invited to speak.

Fayyaz stated: “Every phenomenon, whether it be a media outlet or a group of people, is the culmination of its own era. HarmonyTalk is also a combination of two parts: harmony and talk. It signifies an era where it was believed that a harmonious dialogue could exist. The same concept that, when translated into music, emerges as polyphonic music, and in human relationships, it becomes a dialogue between people in a harmonious and affectionate manner.”

After Fayaz’s speech, the Ordibehesht Choir led by Hamid Askari was invited to perform. The program performed by this group included pieces by Hamid Askari and several folk pieces harmonized by Rubik Gregorian.

Following this performance, Alireza Miralinaghi was invited to speak. Miralinaghi, referring to the efforts of Sadjad Pourghannad, the editor-in-chief of this site, said:

“It is historically very important that we are in an era where encyclopedias no longer have practical use in their old form and have actually become non-paper and digital encyclopedias that are constantly updated. HarmonyTalk is also important and valuable for this reason because it has such a characteristic.”

Miralinaghi continued to refer to the position of HarmonyTalk in historiography and considered its quality much higher than other sites that exist today, saying: “Most of the sites we see today are misleading rather than valuable and credible.”

Miralinaghi further stated: “I belong to a generation before the internet and have struggled to align myself with the generation of internet audiences, and if I am active on this site today, it is because of Sadjad Pourghannad’s insistence.”

After Alireza Miralinaghi’s speech, the Eighties Band came on stage with performances of 1980s-style pop music, which concluded the celebration.

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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…

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.

Non-profit “Microtona” Project Released

Microtona is a sixty-eight-page Booklet with personal comments by the contributing microtonal artists. The booklet also includes a DVD which consists of 8 original video tracks and 9 original audio tracks. The project is an international one featuring unpublished pieces by composers from Iran, Japan, U.S., France, Austria, Germany and Belgium.

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.

The First Saba Student Music Festival Concluded in Tehran

Preparations for Saba Student Music Festival started in the summer of 2016; the Student Music Festival will be held annually by the students of music at Arts University. The first part of the closing ceremony of the Festival was dedicated to the celebration of the life, work and strives by Maestro Hossein Dehlavi to upgrade the level of music as an academic discipline. The name of the award-winning students and ensembles were announced at the second part of the ceremony.

A year without Mohsen Ghanebasiri

The year 1396 (21 March 2017-20 March 2018) was the most sorrowful year for HarmonyTalk journal. One month after holding HarmonyTalk’s 13th establishment anniversary in Mohsen Ghanebasiri’s house in Tehran in April 2017, he untimely passed away. Mohsen Ghanebasiri was the prominent HarmonyTalk author.

Call for papers SIMF 1396

The Association of Iranian Contemporary Music Composers (ACIMC) and SHAHREAFTAB Art & Cultural Association are pleased to announce a call for papers for SIMF 1396.

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:

Parviz Meshkatian’s Heart Beat for People (II)

As such, the young Meshkatian reached the position of a great maestro in the Iranian music. Up until 1997, Meshkatian remained prolific and composed many pieces which were characterized by progressiveness while drawing on the music of the past Iranian musicians. In some of Meshkatian’s works, one can trace the influence of maestros such as Faramarz Payvar; however, this influence is so balanced that one can neither say that Meshkatian is a progressive and deconstructionist composer nor does he use cliché forms in his compositions.

Principles of Violin Playing (X)

Creating sound continuity between two notes in the source and destination positions when left hand position changes and “two different finger numbers” are involved is called portamento. Portamento can be performed on single string or two neighboring strings and with hand moving on fingerboard either upward or downward.

Developments in Iranian Music Since Qajar Era (I)

At the end of the Qajar era and as Iran entered the power transition period, known as the constitutional era, the Iranian music went through a lot of changes. These changes gained momentum as the students and followers of Ali Naqi Vaziri’s entered the musical scene. These changes greatly influenced designs of instruments, playing methods, singing, composing, etc.