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.

4.3.1. To practice playing of doubles of notes involving two different fingers, each note is played at separate bows with slow tempo, each note is played perfectly regarding its bass and tenor sounds and then the considered double is played at another bow while considering the resulted sound of the double.

B. applying force: the force needed for putting finger on finger board is applied through finger tips and using the rest of hand set especially wrist is not allowed. To practice this, it is possible to hold violin without the bow and throw the fingers on the finger board from 1-2cm distance; apply force only through finger tips.

Maestro Hassan Nahid is one of the most prominent and distinctive artists who values high morals, discipline and hard work. His music activities include playing the Ney as both soloist and an accompaniment in the most important Iranian music orchestras and ensembles during the last fifty years, including the Orchestra of Iranian Instruments (Nusratullah Golpayegani), the Orchestra of National Instrumentalists of the Ministry of Culture and Arts (Payvar Orchestra), the Orchestra of Iranian Instruments (Morteza Hananeh) , Darvish Orchestra, Samaie Orchestra, Roudaki Orchestra, Maestros’ Ensemble, Aref Ensemble, as well as performances in various radio programs, many concerts in different countries, as well as a long teaching experience in the National Conservatory of Music, music universities and other music institutions to name but a few.

Creating sound continuity between two notes in the source and destination positions when left hand position changes and “two different finger numbers” are involved is called portamento. Portamento can be performed on single string or two neighboring strings and with hand moving on fingerboard either upward or downward.

In the world of classical music, the position of soloist has always been exceptional. Apart from the technical ability that many orchestral musicians also have, the soloist must also have a special power to be able to present a different and unique perspective of a piece. The soloist must maintain its special power of expression not only in solo roles but also when interacting with the orchestra.

Following an interview by Mehdi Salem, the director of the Rudaki Foundation, with the “Our Music” website, a response from the dismissed musicians was published in response to this conversation, which you read:

The perspective that denies any alteration or innovation beneath the realm of Iranian music, and more broadly, the performance and even the structure of Iranian music instruments, stems from the discourse of “tradition-oriented”* and the “return to self” movement in Iranian music. Given that some educators still adhere to this discourse and emphasize the necessity of preserving tradition, a perception is formed among art students that Iranian music, including Radif, lacks dynamism and is confined within a rigid framework.

A part of the secrets of the masterpieces from the golden era lies in the special design of the instruments, as a result of a profound insight to and awareness of the significance of the precise calculation of the various components of the object of arts being created, such as making a violin or a bow.

Establishing O.R.P. Quartet is Kayvan Mirhadi’s latest activity as a guitarist, composer and conductor of Kamerata Orchestra. Besides working with this Quartet, Mirhadi is busy these days recording and mixing some of his own works as well as some pieces by 20th century composers. O.R.P Quartet performed a concert in Rasht, Gilan Province in late May 2016 and offered a master class.