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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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.

Bahma Rajabi Passed Away!

Bahman Rajabi, the renowned tonbak (Persian goblet drum) player and educator, passed away at his home at the age of 86 due to a heart condition. He was the founder of a distinctive school of tonbak playing, and his teaching methods have been widely used by instructors of the instrument for decades..

From Past Days…

The Role of Arts in Development of Societies

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Tehran Flute Choir Established

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Concertino for Violin and Orchestra entitled Nohe Khan was composed by Ali (Alexander) Rahbari while he was studying music in Vienna in 1972. This piece was composed having in mind the Ashoura events and inspired by the music which is used during the Ashoura ceremonies. The piece was first performed and recorded by Bijan Khadem…
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Interview with Farhad Poupel (I)

Born in Isfahan, Iran, and based in the UK, Farhad Poupel’s music has been performed and will be performed in numerous prestigious concert halls and festivals throughout the world including Suntory Hall in Tokyo, Japan; La Roque-d’Anthéron Piano Festival, La Roque-d’Anthéron, France; Biarritz Festival, Biarritz, France; Stoller Hall, Manchester, UK; Janacek academy of music and performing art, Brno, Czech Republic; Karlskrona International Piano Festival, Karlskrona, Sweden; by distinguished artists such as Kotaro Fukuma, Peter Jablonski, Daniel Grimwood, Margaret Fingerhut, Catherine Carby, Kristýna Znamenáčková,Jeffrey Biegel, Jean-Francois Bouvery and orchestras such as Windsor Symphony Orchestra or broadcasted on the NPR Radio 4, Netherland. The following is an interview with him on the ocaasion of the premier of the Legend of Bijan and Manijeh.

Is the Iranian National Anthem a Copy? (II)

In response, it should be said that it is better for the national anthem of a country to use the musical material exclusive to that country; however, some problems might come up in doing so the most important of which include: lack of familiarity of other countries’ music performer with the concerned country’s specific music intervals and special musical technique; and secondly, the strangeness of that music to the foreign listener.

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (3)

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Iranian Fallacies – Global Performance

One of the most important criteria for measuring the quality of a piece of classical music is number of times the piece has been performance by different ensembles and orchestras in different eras. This belief has become so pervasive in some societies, such as Iranian society, that it is considered the only criterion for measuring the quality of a piece of classical music.

The Structure of Kurdistan Daf (III)

“Our ancestors believe powerful blows upon the Daf scatters evil spirits of disease and distress to create a clean and holy space filled with health and prosperity. Adding tools to Daf increases this instrument’s purification, spreading, and summoning powers of evil forces and goddesses. Daf was mostly depicted by red, color of blood, in ancient times or sometimes it was depicted with green, the color of plants and nature. There were probably some mysterious designs painted upon the wooden body and frames of these instruments just like today” (Pahlavan, 2013: 44).

Interview with the Makers of the New Qeychak (II)

Regarding the classification of a new instrument in an instrument family, one can point to a number of fundamental issues, one of the most obvious of which is the instrument’s visual features. If we look at how the new instrument has changed compared to its historical versions, the set of visual elements that link the instrument to the Qeychak family becomes apparent. But other characteristics such as the geometric dimensions of the instrument, characteristics of the instrument’s various parts and how they relate to each other, its systematic performance, its sound range (compared to modern versions), the material and color of the sound, the way it is played and the like, can be considered in order to classify the instrument in the Qeychak family.

Motherland Orchestra Broke the Spell of the Covid-19 Restrictions

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