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.

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…

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.

Music education in third-world countries

Music education in third-world countries is facing many problems that limit access to it and it’s full of challenges. These rising and falling obstacles are made of the socioeconomic, cultural educational systems, etc.

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.

Last Year under the Light of Music

Almost three months into the new Iranian year (starting March 21), it is still not too late to have a look at the last year and the challenges that the musicians faced. The following article was published on the first day of the New Year in the Persian edition of the HarmonyTalk journal.

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.

From the Last Instrumentalist to the First Composer (II)

Rouhollah Khaleghi was the master of composing beautiful melodies. He was the premier of the course of history which was first established by Ali Naghi Vaziri and which improved the Iranian music from simply a gathering music to the classical music of the country. First efforts to compose independent and instrumental music can be also traced in Khaleghi’s works.

Banan: the Artist of the Age

Gholam Hossein Banan was born in 1911 in Tehran. He was born in an affluent art-loving family who were Naser al-Din Shah Qajar (1848-1896)’s relative. The Qajar King was his mother’s uncle on her father’s side. He learnt his first lessons in music while his father sang Iranian avaz (improvised rhythmic-free singing), he then attended classes by the renowned Iranian composer, Morteza Neydavoud (1900-1990) along with his sisters; the composer is, therefore, considered as his first teacher. He then learnt Iranian avaz under the supervision of Mirza Taher Zia Resaee (Zia-o Zakerin) and Naser Seif in an oral manner.

A Note on the Occasion of Houshang Zarif’s Demise

No introduction is needed when talking about the position of the late Houshang Zarif (1938-2020) in the Iranian music. His character and personality are so well-known among musicians that his name per se is a symbol and role model for the Iranian youth. “Becoming Houshang Zarif” is the dream of many young people who enter the world of music in Iran and many of whom retire regretting the realisation of this dream.

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.

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.