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.

UnTwelve Non-profit Organization announced the results of its 2014/2015 composition competition on January 28, 2015. Shaahin Mohajeri, an Iranian Tonbak player, microtonalist, acoustician and composer, was awarded the second prize for his piece “Castle of Babak.”

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.

Santour:
Nine-bridge and twelve-bridge Sanours were both used until the early Pahlavi dynasty. However, as Faramarz Payvar devised new methods for playing the nine-bridge Sanour, this variety of the instrument which was hammered by felted sticks became popular.

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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The collaboration between Mozart and Haydn blossomed during the late 18th century in Vienna, a city that served as the epicenter of musical innovation. Amidst this vibrant cultural milieu, the two composers developed a profound friendship that extended beyond mere professional admiration. This connection is reflected in the six string quartets dedicated by Mozart to Haydn, aptly known as the “Haydn Quartets.”

In the few days prior to the New Iranian year (March 2015), the news of the revival of Tehran Symphony Orchestra under Ali (Alexander) Rahbari’s conductorship was announced. Ali Rahbari, who served as assistant to Herbert von Karajan in Berlin Philharmonic Orchestra at a very young age, was also invited to conduct Tehran Symphony Orchestra in 2005; however, the election of Mahmoud Ahmadinejad’s government put an end to his collaboration with this Orchestra. Recently, it was announced that Rahbari is invited to conduct an orchestra in the U.S.

Tajvidi thought of studying harmony and orchestration with Houshang Ostvar (who was eight years younger than him) at a time when he had gained a reputation among musicians. His humbleness, making him willing to kneel before the scholars at any age and position, became the key to his scientific success. After this period, Tajvidi made some of his works polyphonic, the most prominent of which is “Burn” set to a poem by Abdullah Ulfat. However, his ability to make his works polyphonic was not so great to make him self-sufficient; so he depended on musicians such as Farhad Fakhreddini, Fereydoun Naseri, Kambiz Roshanravan, Fereydoun Shahbazian and Morteza Hananeh for the arrangement of his compositions.

Today, percussion instruments have such a high place in music that are an essential element of orchestras. This has attracted many people to this type of instrument with roots as old as the first humans. A historical study of music, shows that humans used the sound of these instruments to defend themselves against wild animals and, over time, for alerting each other, signaling their readiness and encouraging people for war, ritual ceremonies, dances, etc. in a manner that is still clearly visible in music and some ritual ceremonies.

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.