Tehran Flute Choir is a 40-member orchestra of Iran’s best flutists; Iran’s best flutists? Yes! If you write down the names of the greatest Iranian flute players who participate at concerts and contribute to academic centers in Iran, you will see that most of them are among the choir’s members.

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:

Joint application of the two techniques of “Lip” and “Nose” could be effectively applied for hearing and playing far-away intervals, by the Classical Guitar. Before this, a Classical Guitar player had to waive playing intervals not possible with the left hand, and had to replace or eliminate some notes, making it possible to play such intervals; specifically the capability of the left hand of the musician, was also a factor in such a selection. These methods are hereby illustrated by photographs and a video-file, in order to provide optimum comprehension of applying these methods, invented by the author; specifically the “Lip” technique, which is considered to be a more significant technique, emphasized by the author.

The author of the “Illusion or Ingenuity” article, who is apprehensive of the future of the Music in Iran, enumerates some symptoms of the music weakening in the country for example decreasing in the quality of the music as well as lack of the innovation in creating them, a gradual decline in the music public taste and the drop in the application of layered sound and polyphony in music. He explains that one reason for this gradual weakening might be our unawareness of the fact that we are not so intelligent nation. He believes that we, Iranians, have a comprehensive “Illusion of the high national intelligence “that make us ignorant of the unfavorable realities of our music and consequently no searching for the remedy is taking place. His point of view brings to the mind a patient who thinks he is healthy, therefore delays the treatment and finally is killed by the disease. The author also refers to the national difficulties which gradually will lower the national intelligence score such as the increased rate of the immigration and brain drain, low quality of the nutrition, incompetence of the education system and etc and predicts that the condition of the music of Iran might deteriorate in the future because of the mentioned illusion of its great status.

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.

The world of music has unparalleled respect for Bach. Bach is considered the spiritual father of classical music; Bach’s great position is due not only to his great achievements in the fields of harmony, counterpoint, and compositional sciences but also to his respect for and adherence to the artistic principles of classical music. In the history of classical music, it is recorded that Bach walked about fifty kilometers to listen to the music played by the great German organist Dieterich Buxtehude, and this is the path that every idealistic classical music student should walk.

The Motherland Orchestra staged the first concert since the outbreak of the pandemic under the baton of Nezhat Amiri. The orchestra went on stage on December 23-24, 2021 in memory of Rouhollah Khaleghi and Golnoush Khaleghi at Vahdat Hall, Tehran, Iran. Since the pandemic outbreak, concerts were held online and restrictions were imposed on in-person concerts.

ehrouz Mohammadi, “Daf and its feasts in Ghaderieh’s Tekyeh” mentions that the outer thickness of arch where studs are located, [is] between one to one and a half centimeters (Mohammadi, 2001: 12). The thickness of arch should be gradually reduced from the installation place of rings to skin (Avazeh of Daf) to create a high volume, clear sound from Daf; also, the connection of arch to skin should not be less than one millimeter, because in this case the skin will be torn due to the sharpness of the wood (Mogharab Samadi, 2009: 79-78). The thickness of wood on the skin side is about two to three millimeters (Tohidi, 2002: 79).

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.

As such, the young Meshkatian reached the position of a great maestro in the Iranian music. Up until 1997, Meshkatian remained prolific and composed many pieces which were characterized by progressiveness while drawing on the music of the past Iranian musicians. In some of Meshkatian’s works, one can trace the influence of maestros such as Faramarz Payvar; however, this influence is so balanced that one can neither say that Meshkatian is a progressive and deconstructionist composer nor does he use cliché forms in his compositions.