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.

Shaahin Mohajeri, the award-winning Iranian microtonal compose, has contributed to The Art of Silence is an international project which features unpublished pieces by microtonal composers from Iran, Japan, the United States, and other countries.

Mohsen Renani in the preface of his book entitled “The Political Economy of nuclear conflict; an introduction to traversing the civilizations” writes:

In the tradition of classical music, it is generally tried to use the same technical terms related to music in all countries. Even in the cultures in which native terms exist to refer to musical terms, usually the better known universal terms are employed.

The late 18th century was marked by profound societal changes across Europe, characterized by the rise of the bourgeoisie and the reshaping of musical patronage. Composers like Mozart responded to these shifts by adapting their compositional styles to align with the tastes and sensibilities of the emerging middle class. This article seeks to explore this phenomenon through an analysis of Mozart’s K. 499 quartet, also known as the “Hoffmeister” quartet, and his Prussian quartets, alongside the works of his contemporaries. By examining the evolution of the string quartet genre within the context of changing social structures and aesthetic preferences, this study aims to shed light on the dynamic relationship between music and society.

Master Mohammad Ismaili, a prominent musician and renowned tombak player, passed away on August 13, 2023, after battling an illness in the ICU of Rasoul Akram Hospital. His funeral will take place on Thursday, August 17, at 10 am in front of Vahdat Hall, and he will be laid to rest in the Artists’ Section of Behesht Zahra Cemetery.

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.

I still think of those fish in a crystal bowl for the Haft sin table and those disappointed old men who went out to sell blackfish.

Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Hooks and attached rings: The junction of the ring to the arch is about 3 centimeters from the skin.  The ring with its side rings should be as far as the diameter of a ring (about one and a half to one and eight centimeters) to make a proper…
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With regard to each polyphonic form, only one specific and distinguished example is analyzed. These polyphonic forms are as follows: