The online journal of HarmonyTalk is the longest-standing Persian journal on music in the whole world.
HarmonyTalk was launched on April 7, 2003 as a weblog on music by Kamran Vatan Abadi. After 100 days, more authors were called upon to contribute to the weblog which was then transformed into a daily journal on music. Up until 2006, VatanAbadi was the Editor-in-Chief; a post which was assumed by Sadjad Pourghanad in the same year and has been retained by him so far. The Senior Editor for the English HarmonyTalk is Mahboube Khalvati who is also one of the translators of the journal in Persian.
At the English HarmonyTalk we seek to share with our English-speaking readers the knowledge and the experience of HarmonyTalk’s authors as well as the Iranian musicians’ of not only the Iranian classical music but also the Western classical music and the world music.
The English HarmonyTalk is updated on the 1st day of every month. So keep up with us!
- Maestro Hassan Nahid’s Role in Promoting the Ney
- History’s Impact on Evaluating a Work of Art
- Farhad Poupel’s piece, Road to Bach, performed at Suntory Hall
- “Symphonic Poems from Persia” Released in Germany
- A Persian Nocturne for Piano
- The Role of Arts in Development of Societies
- “I Will Never Perform Just for Women!”: Golnoush Khaleghi Passes Away in Exile
- Interview with the Makers of the New Qeychak (III)
- Persian Music: “Mahour the Great” in Austria
- Interview with the Makers of the New Qeychak (II)
- Rare documents of Tehran Opera Company published in Europe
- Interview with the Makers of the New Qeychak (I)
From Past Days…
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.
When the author was working on the piece “Playing Love” by Ennio Morricone (from the legend of 1900), he realized a failure of the Lip Technique. Needing to play a chord in the 14th position of the guitar and in order to complete the harmony, it is necessary to play a harmonic note on the 7th or 5th position; it was not possible to touch the string to play this harmonic note, because the Lip Technique is used for getting the notes and not to touch the string and producing harmonic notes. Naturally, the only possible way to touch the string was to use the nose at the required position and playing the note with the right hand, and this was the best option the author found to how to play such harmonic notes, and where the Nose Technique was generated.
One of the most popular terms used by Iranian instrumentalists is the existence or a lack of musical “sense”. Both musicians and fans of music consider having “sense” while playing music as an important principle to the extent that they use it vis-a-vis having technique.
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.
The year 1396 (21 March 2017-20 March 2018) was the most sorrowful year for HarmonyTalk journal. One month after holding HarmonyTalk’s 13th establishment anniversary in Mohsen Ghanebasiri’s house in Tehran in April 2017, he untimely passed away. Mohsen Ghanebasiri was the prominent HarmonyTalk author.
Ashura Opera was composed by Behzad Abdi, the Iranian composer, in 2008 based on librettos compiled by Behrouz Gharib. The main source for the libretto is poems by Mohtasham Kashani, a sixteenth century Iranian poet.
The present series of training articles, “Principles of Violin Playing”, seek to help students, to appropriately understand this field, by gradually introducing, categorizing, and teaching the myriad relevant points. One of the principles of playing violin, which must be always kept in mind, is that the selection of the most natural position for the body parts while playing is the best and most appropriate solution. As a matter of fact, any unnatural body part position which requires lots of energy or unusual stretching to maintain, is wrong.
The National Instruments Orchestra of Iran performed its first concert amid much hope and anxiety on July 18, 2015. The Orchestra is founded by Roudaki Cultural and Arts Foundation which is a semi-private foundation in Iran. The Arts Director for the National Instruments Orchestra of Iran is cand the Orchestra Executive Director is Sadjad Pourghand.
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.”
Despite the fact that Iranian folk music (regional music of Iran), like the Radif of Iranian traditional music, is monophonic and follows heterophony in principal, we experience polyphonic forms, albeit, majorly unconscious.