Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Daf Structure The Structure of Daf in different cities of Iran has a great variety in terms of dimensions, components and even appearance; some of which are as follows: – Square Daf, on which the skin was stretched either on one or both sides, with strings installed inside it…
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Farshad Sanjari, one of the most renowned Iranian conductors in the 1970s in Iran died after fire broke in his apartment in Vienna on November 22, 2019. Farshad Sanjari was not involved in politics; however, he was one of the victims of the Iranian Islamic Revolution in 1979. After the victory of the Islamic Revolution, his name was never seen as the conductor of any programmes.

The term “School of Vaziri” is often used in writings on Iranian music, but the exact meaning of the term is not clear; some of the authors have used the term to only refer to the group of Vaziri’s students, including a large group of his conservatory students and his Tar students such as Abolhassan Saba, Rouhollah Khaleghi, Ahmad Foroutan Rad, Hossein Sanjari, Heshmat Sanjari and others. But can we consider all Vaziri’s students as followers of his school of thought? This is definitely a mistake, because we know that some of Vaziri’s students have chosen a completely different path than that of Vaziri.

Simorgh (Simorq) Orchestra was founded by the renowned Iranian composer, Hamid Motebassem, in 2011. Simorgh Orchestra is the largest orchestra featuring Iranian national instruments. Although the orchestra established by Master Hossein Dehlavi, the great Iranian composer, in 1993 was larger than Simorgh Orchestra, it only featured the Iranian plucked string instruments unlike the latter one. The first album which was recorded by the Orchestra, conducted under Motebassem’s baton, was his Simorq based on Zal story from Shahnameh by Ferdowsi, the great Iranian poet.

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.

Conclusion

“Daf” is one of type of percussion instruments that has a long history and is commonly known as circular instruments (with a rim). In some tribes, Daf was used as the main instrument in festivity and joy ceremonies; in another tribe it was used as the main instrument for war and campaign ceremonies and some others used it for ritual and religious ceremonies.

In 1990  an Austria-based Persian musician Khosro Soltani, in cooperation with Hossein Alizadeh, put out an album entitled, Ancient Call A New (Nobang-e Kohan). After many years, a few ancient Persian instruments such as Sorna, Karna, Naghareh,etc. have been used, instruments which have been left out of the circle of Persian classical musical instruments for centuries.

Innovation and Creativity The Enlightenment era championed innovation, creativity, and the relentless pursuit of knowledge, values that resonate prominently in Mozart’s string quartets. Mozart, a luminary of the Enlightenment, used the quartet form as a playground for his inventive spirit, pushing the boundaries of traditional structures and harmonic progressions. Mozart’s innovative approach is evident in…
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Pattern No.3/1 Left hand finger Placement: 3/1/1: Landing Fingers on one String: In preliminary stages of training, an apprentice should pay attention to the principle of keeping fingers while placing them on the fingerboard. Professional violinists pay less attention to this principle. Novice player’s complying with this principle, in preliminary stages of training, has several…
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The mention by music instructors, academicians, students, and music enthusiasts about the lack of development in Iranian music is a topic that has been repeatedly heard, resulting in a superficial understanding and misinterpretation of Iranian music, which has been conveyed to students of the arts. This short essay aims to critique and examine this claim.