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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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…

Timeless or Timely: The Role of Historical Context in Defining Artistic Value

Imagine that, in the course of historical research, we discover a musical piece whose compositional techniques (including form, melody, texture, and orchestration) resemble those of a second-rate 19th-century composition. But further investigation reveals that this work predates that period by 200 years. Can we still deem it insignificant? Certainly not. Here, the first major role of historical judgment becomes evident.

Interview with the Makers of the New Qeychak (I)

On occasion of the 8th anniversary of launching HarmonyTalk Online Journal on 6 April 2012, Reza Ziaei, master luthier and researcher on classical music instruments (violin family), announced that the first phase of the project to improve Qeychak has borne fruit. The new instrument would feature a bowl of ribs and the material used for the surface would be wooden. Carrying out the second phase of the project took more than 7 years engaging the new members of Reza Ziaei’s Workshop. In this phase, new researches were conducted from different aspects on the Qeychak and the modern versions of the instrument which were introduced previously by other instrument makers. The available versions of the instrument were studied in terms of their weak and strong technical features.

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).

From the Last Instrumentalist to the First Composer (I)

Music as an art has its own special history; emergence of a singer, of an instrumentalist and then the emergence of the strong character of a composer covers three significant phases of the art of music. With the emergence of composer which was simultaneous with the emergence of the language of music, this art managed to offer a domain for criticism for its composer; a procedure which led to a magnificent variety and evolution in musical production. Even though the conflicts between singers and instrumentalists have not met their end in the Iranian society and while singers can achieve high, instrumentalists have yet to play behind curtains . In a special era, with the efforts of musicians such as Ali Naghi Vaziri (1887-1979) and Rouhollah Khaleghi (1906-1965), glimmers of a composing era started to glow bearing fruit in Khaleghi’s achievement as Iran’s first professional composer. Khaleghi made his reputation as a composer while Vaziri deserved to pioneer this path. By then Vaziri was well-known as a Tar player.

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:

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.

Developments in Iranian Music Since Qajar Era (III)

Developments in Composing

Along with developments in the Iranian instruments, composition of the Iranian pieces developed as well. As a matter of fact, the developments of the two, mutually affected each other. In other words, instrumental developments led to developments in composition and vice versa.

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.

Prominent Iranian Musicologist Passes Away in Vienna

Khosrow Djafarzadeh, musicologist and architect, who was also one of the main authors of HarmonyTalk journal passed away on 15 July 2019.

Women and the Music Environment in Iran

The life territory of the female-male relations in the Iranian cultural context is basically a domestic territory and not a social-living one in the labour and leisure domains. To prove this, it only suffices to consider the Iranian men’s viewpoints about women. For the Iranian men, there are three perspectives regarding the women: mother, sister and wife. Mother represents the emotional territory; sister represents the logical territory at home while wife represents the sexual territory.