Welche Ausbildung hast Du absolviert?
Ich habe vor der Grundschule begonnen, Musik von meinem Vater zu lernen. Mein Vater Mohammad Hassan Radman war ein Violinspieler und Lehrer an einer Musikschule.
Ich habe dann meine Kenntnisse von grundlegenden Elementen der Musik verbessert, wie dem Klavierspiel, der Theorie von iranischer Musik und dem Erkennen der iranischen Spielarten wie Repertoires im Konservatorium. Außerdem habe ich meinen Bachelor in Elektroingenieurswesen an der Universität Kerman beendet. 1990, also mit 18 Jahren war ich Mitglied der UNIMA als Komponist. Fünf Jahre später wurde ich als Bachelorstudent der Musik an der Fakultät der Künste an der Universität Teheran aufgenommen.
Während des Bachelors lernte ich Komponieren von Alireza Mashayekhi und iranische Musik (für das Santoor) von Majid Kiani. Klavierspielen habe ich von Raphael Minastanian gelernt. Darüber hinaus habe ich Dirigieren bei Edo Miĉiĉ, Dr. Manouchehr Sahbaei und Iraj Sahbaei gelernt. Nach dem Bachelor habe ich den ersten Platz für das Master Examen bekommen und den Master an der Kunstuniversität für Komposition begonnen. Dort habe ich unter anderem von Olena Dyachkova, Talib Shahidi, Ahmad Pejman, Hossein Dehlavi und Shahrokh Khajeh Noori gelernt. 2008 habe ich meinen Doktortitel in Komposition von der A. W. U. erhalten.
Wie alt bist Du und welche Situationen sind für Dein Leben besonders prägend gewesen?
Ich bin am 20. Juni 1973 in Teheran geboren. Die Tatsache, dass mein Vater Musiker war sowie sein das Training, das ich schon früh begonnen hatte waren Schlüsselstationen in meinem Leben als Künstler. Mein Vater war die erste und stärkste Inspiration in meinem Leben.
Wann hast Du Deine Leidenschaft fürs Komponieren entdeckt?
Als ich Kind war konnte ich bereits einige iranische musikalische Phrasen erkennen und imitieren. Dabei wurde ich definitiv von meinem Vater inspiriert, er spielte für gewöhnlich iranische Violinstücke. Ich habe mich sehr für Orchestermusik interessiert und bereits vor der Grundschule die ersten Stücke komponiert, die auf einfachen Gedichten und Texten basierten. Nach dem Abschluss des Elektroingenieurs von der Universität Kerman habe ich mich entschlossen, meine musikalischen Fähigkeiten an der Fakultät der Künste der Universität Teheran zu lernen.
Was hat Dich daran fasziniert?
Die Effekte der für die persische Musik spezifischen Intervalle und die Improvisationen, die damit einhergehen.
Was ist für Dich als Komponist in der Neuen Musik interessant? Wie bist Du zu diesem Genre gekommen?
Ich denke eines der interessantesten Elemente der zeitgenössischen Musik ist „Zeit“. Dieser Gegenstand war zu allen Zeiten ein komplexer und differenzierter Umstand in der Musik. Ein anderer Gegenstand ist „Ästhetik“ und dessen Entwicklung über die Zeit. Die verschiedenen Herangehensweisen der Neuen Musik, die Einstellungen und die neuen musikalischen Techniken können neue und einzigartige Wege zeigen um neue Ausdrucksformen zu finden.
Tatsächlich denke ich dass eine Entwicklung in diesem Feld der Kunst auf den unterschiedlichen Erfahrungen basiert.
Hast Du für andere Genres komponiert oder hattest Du Kontakt mit anderer Musik vorher? Wenn ja welche?
Ja, ich hatte davor einige Kompositionen mit iranischer Orchestermusik, Filmmusik und Kompositionen die auf iranischer Literatur basierten.
Was war der Grund für Dich, in TRAIECT teilzunehmen? Kanntest Du das Projekt davor?
Über Social Media und meine Freunde habe ich über die vorhergehenden Konzerte und Projekte erfahren. Ich möchte an TRAIECT teilnehmen, um neue Erfahrungen mit den anderen Musikern und Komponisten auszutauschen. Das ist mir sehr wichtig.
Was ist Dein persönliches Interesse an dem Projekt?
Um neue Erfahrungen mit der Komposition für die Techniken der Oud und der Elektronik zu haben, um den künstlerischen Geschmack der anderen Komponisten und Kulturen zu erhalten und schließlich um mit großartigen Musikern und großartiger Technik in einer exzellenten Konzerthalle aufzutreten.
Was erwartest Du in TRAIECT zu finden?Ich bin gespannt darauf, neue Einstellungen und neue Strukturen im Komponieren zu finden.
Hast Du schon einmal an einem ähnlichen Experiment gearbeitet? Wenn ja, welches war das und wie war Deine Erfahrung?
2016 habe ich einen gemeinsamen Workshop im Royal Conservatoire von Antwerpen mit dem Thema „Modelle polyphoner Texturen in der iranischen Musik“ gehalten. Außerdem hatte ich eine Aufführung meiner Musik beim Boznar Festival in Belgien.
Als Komponist und Dirigent habe ich einige Projekte mit dem Contemporary Music Researches Center der Fakultät der Künste der Universität Teheran sowie dem Institut für Musik an der Universität Schiras.
Was ist zeitgenössische Musik für Dich? Wie würdest Du es definieren?Ich denke, dass es für viele Musiker schwierig ist, dem Begriff eine Definition zu geben. Zeitgenössische Musik ist so umfassend. Die Definition hängt von historischen Begebenheiten in jeder Kultur und jedem Land ab. In der zeitgenössischen Musik werde ich manchmal von einer großen Auswahl an Künsten beeinflusst, neuen musikalischen Texturen, Entwicklungen von Klangfarben der Instrumente (besonders der iranischen), wissenschaftliche und technologische Entwicklungen, Literatur und Philosophie.
Welche Rolle hat die zeitgenössische Musik in der Gesellschaft Deiner Meinung nach?
Sie wird oft mit vielen Herausforderungen konfrontiert, die von den Leuten und den Zuhörern kommen und ich denke eine der Verantwortungen als Künstler und Komponist ist es, diese Herausforderungen anzugehen.
Was möchtest Du als Komponist ausdrücken, was erreichen?Ich möchte wirklich eine reine persönliche musikalische Interpretation erreichen, immer mehr….
Das Projekt enthält traditionelle Instrumente und Elektronik. Was ist Tradition für Dich? Wie würdest Du sie beschreiben?
Tradition ist eine Sammlung von Informationen, Umständen, Kunst und Religionen die mündlich von Vater zu Sohn oder von den Vorfahren zur Nachwelt gegeben wird.
Die Komponisten werden etwas völlig Neues für dieses traditionelle Instrument erschaffen. Siehst Du einen Graben zwischen der Tradition und neuen Wegen der Komposition? Wenn ja, welchen Effekt haben diese?
Meiner Ansicht nach, also als Komponist, sind moderne und traditionelle Einstellungen nur verknüpft zu den Herangehensweisen der Künstler oder Komponisten. Der Graben zwischen der Tradition und den neuen Herangehensweisen kann verändert werden, je nach Bedarf und den künstlerischen Ausrichtungen des Komponisten.
Gibt es eine Möglichkeit, die beiden Sphären zu überbrücken? Wenn ja wie, wenn nein wo denkst Du ist das nicht möglich?
Ja, vor allem denke ich, dass wir dafür zunächst genug Wissen und Kontrolle über traditionelle Inhalte und Formen sowie praktische Erfahrungen mit zeitgenössischer Kunst haben müssen. So können wir tatsächlich einige traditionelle musikalische Elemente behalten und sie oder Abschnitte daraus in die neuen Strukturen, Konzepte oder zeitgenössischen Herangehensweisen einbauen.
Welche Elemente werden in Deinem Stück vorkommen? Welchen Zweck haben sie? Was ist die Priorität im Stück?
Ich habe mir die Geschichte der Oud im Hinblick auf Klangfarben und die Entwicklung der Techniken angesehen, insbesondere der Barbat oder persischen Oud, der arabischen und der türkischen Oud. Das Tück ist eine Geschichte mit dem Namen „in search of lost memory“ (dt.: auf der Suche nach der verlorenen Erinnerung). Diese Geschichte zeigt die tragische Entwicklung der Oud im Iran nach den Kriegen (dem Krieg mit den Türken, Arabern und Mongolen) über die letzten tausend Jahre, die das Schicksal der Oud verändert haben. Ich habe persische Texte verwendet und eine Reihe von kombinierten Stimmen in elektronischen Spuren erschaffen, die von türkischen und arabischen Phonemen inspiriert wurden. Außerdem habe ich einige Phrasen aus einem Gedicht von Akhavan Sales (ein bekannter iranischer Poet (1929-1990)) verwendet. In diesem Stück liegt die Priorität in einer Verhandlung zwischen zwei Konzepten.
Das sind die Benutzung neuen Klangfarben der persischen Oud und Improvisationen, die auf iranischen Stimmungen und anderen Phänomenen beruhen, die aus der iranischen Literatur und verschiedenen musikalischen Kulturen extrahiert wurden. Sie werden durch elektronische Signale und durch die Oud-Spielerin repräsentiert und basieren auf verschiedenen Funktionen der Oud in der Welt der Musik.
Hast Du Dein Stück schon geschrieben?
Ja.
Welche Elemente des Instruments und der Elektronik hast Du Dir herausgesucht? Was willst Du damit herausfinden und ausdrücken? Hast Du nach einem bestimmten Klang gesucht und wenn ja welchem?
Ich habe mir die Techniken der türkischen und der arabischen Oud angesehen und eine Mischen aus diesen in den elektronischen Spuren gemacht.
Was möchtest Du in Deinem Werk in den Vordergrund stellen? Verfolgst Du einen speziellen Sound oder eine Botschaft oder etwas anderes, dass Du entdecken und zeigen möchtest?
Ja, ich würde wirklich gerne einen speziellen gemischten Sound zeigen (spezielle Oud-Techniken und Stimmen und elektronische Klänge). Dazu eine akustische Diskussion zwischen der künstlerischen modalen Improvisation, den Klangfarben der Phoneme (die Stimme der Spielerin und den elektronischen Klängen).
Gibt es weitere Kompositionen von Dir oder jemandem, an die Du mit Deinem Stück anknüpfst?
Darüber bin ich mir nicht sicher.
Gibt es weitere Phänomene dieser Welt, die Du in Deinem Stück verarbeitest?
Ja… vermutlich.
Hast Du eine Idee oder einen Wunsch, den Du in Deiner Komposition ausdrücken willst? Wenn ja, welcher ist das?
Ich möchte die Möglichkeit nutzen meine Ideen basierend auf anderen Funktionen der persischen Musik in der zeitgenössischen Musik aufzuführen. Dazu zählen: Die Erkundung von Kombinationen von Klangfarben der iranischen Folk Instrumente inspiriert von verschiedenen Formen der Improvisation und der Elektronik.
Gibt es Geräusche und Klänge, die Du entdecken möchtest?
Ja, auf jeden Fall.
Welche Herausforderungen siehst Du im Projekt, die Du meistern möchtest?
Das weiß ich tatsächlich noch nicht genau.
Gibt es andere Phänomene in dieser Welt, die Du in dem Stück zur Sprache kommen lassen willst?
Eine Aufführung, die auf meinem Stück basiert. Die Aufführung und das Komponieren das auf neuen Einstellungen gegenüber der iranischen Folk Musik basiert. Wie etwa: Eine Performance die auf der Komposition von Folk Instrumenten und den elektronischen Klängen basiert.
Gibt es noch etwas, das Du uns sagen möchtest über das Projekt oder Deine Komposition? Gibt es noch eine Frage, die Du unbedingt beantworten möchtest? Hast Du weitere Kommentare?
Ich möchte gerne über meine Erfahrungen die ich hier sammle nach dem Projekt sprechen. Danke für Deine Zeit und die Fragen.
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English version:
What is your educational background?
I began to learn music before primary school under my father’s training. My father Mohammad Hassan Radman was a violinist and a teacher of music school.
I was improving my knowledge of basic elements of music, piano playing, theory of Iranian music and Cognition of the Iranian Modes and repertoires of Iranian traditional music under the conservatory teacher’s supervision and meanwhile I finished my bachelor in the field of Electronic Engineering in Kerman University. In 1990, in the age of 18, I was a member of UNIMA as a composer. In 1995 I was accepted as a bachelor student in the field of music at the faculty of Fine Arts in Tehran University.
During my bachelor I had been trained in composition by Alireza Mashayekhi, Iranian music (Santoor repertoire) by Majid Kiani, and techniques of piano playing by Raphael Minaskanian. I also learnt orchestra conducting by Edo Miĉiĉ, Dr. Manouchehr Sahbaei and Iraj Sahbaei. After my bachelor graduation I got the first rank in entrance master exam and I started my master in the field of Musical Composition in Art University. In this section, I enjoyed having experiences with other professors such as Olena Dyachkova, Talib Shahidi, Ahmad Pejman, Hossein Dehlavi, Shahrokh Khajeh Noori.
I obtained my doctorate degree in music‐composition from A.W.U. in 2008.
How old are you and what situations coined your life, so that you decided to become a composer?
I was born on 20th June, 1973 in Tehran.
The presence of my father as a musician beside me and his trainings from early ages of my childhood was playing a key role in my artistic life. He was the first and the strongest inspiration in my life.
How and when did you discover your passion for composing?
When I was a child, I was able to perceive some Iranian musical phrases and imitate them. Definitely I was inspired by my father because he usually played violin from Iranian repertoires. I was very interested in orchestral music and I began to compose music based on simple poems and texts before Primary School. After graduating in the field of Electronic from Kerman University, I decided to learn the other musical skills with perseverance at Faculty of Fine Arts in University of Tehran.
What did fascinate you about it?
The effects of the Persian particular intervals and improvisation based on them.
What is interesting for you as a composer when it comes to contemporary music? How did you get to this kind of art?
In my belief, one of the most interesting elements in the contemporary music is “time”. This item has been a complex and sophisticated context in the music in all eras. The other item which is appealing to me is “aesthetics” and its developments in the course of time. The various attitudes in contemporary music, new approaches, and new musical techniques can show new and unique ways to achieve some new expressions.
I think, actually, developing in the field of this kind of art, depends on the various experiences.
Did you compose for other genres as well or have you had other contacts in music before? If yes, what are those?
Yes, I have had some compositions with Iranian orchestral music, movie music and composing based on Persian literature.
What was the reason for you to participate in TRAIECT? Did you know about the project before?
I have followed previous concerts and previous project via social media and the other information of some of my friends. I would like to participate in TRAIECT to get new experiences with the other musicians and composers and. It would be very worthwhile for me.
What is your personal interest in this project?
Having a new experience in composition using the techniques of Oud and electronic, getting to know the artistic taste of other composers and other cultures, and performing with great technical and musical facilities in an excellent concert hall.
What are you excited of in TRAIECT to discover?
I am excited to discover new attitudes and new structure in composition.
Did you take part in a project similar to this before? If yes, which one was it and how was the experience?
In 2016, I held a collaborative workshop in Royal Conservatoire of Antwerp based on "models of polyphony textures in Iranian music", I also performed one of my music in Bozar Festival in Belgium.
As a composer and conductor, I performed several projects with the Orchestra of Contemporary Music Researches Center in Fine Arts Faculty. (University of Tehran) and Department of music (Shiraz Azad University)
What instrument are you writing for?
Oud or Barbat.
What is contemporary music for you? How would you define it?
I think giving a definition for contemporary music is a troublesome issue for many musicians. Contemporary music definition is so comprehensive. The definition of this term depends on historical experiences in each culture and country. In contemporary music, I am sometimes influenced by variability of artistic forms, new musical textures, evolutions of some timbres of instruments (especially Iranian instruments), scientific and technological developments, literature and philosophy.
Which role does contemporary music have in the society in your opinion?
Contemporary music is often faced with many challenges which come from people and especial audiences and I really think, one of the responsibilities of the artist and composer is addressing these challenges.
What do you as a composer want to express, what do you want to achieve?
I really want to achieve a pure personal musical interpretation, more and more…
The project contains traditional Instruments and electronics. What is tradition for you? How would you define it?
Tradition is collection of information, customs, art and religious which is transferred orally from father to son or from ancestors to posterity.
The composers will create something completely new for this traditional instrument. Do you see a gap between tradition and the new way of writing scores for these instruments? If yes, which effect does it have?
In my opinion, as a composer, modern or traditional attitudes are only related to the approaches of the artists or composers. The gap between tradition and the new way can be changed based on the necessity of artistic tendencies of composer.
Is it possible to bridge those two spheres? If yes, how / if no or where do you think this is not possible?
Yes, before everything, I think we need to have enough dominance on traditional contents and forms and also having practical experiences on the contemporary arts. We can actually maintain some traditional musical elements and use them or their sections in the new structures, conceptions or contemporary approaches.
Which elements are going to be used? Which purpose do they have? What is the priority of the piece?
I have looked at the history of Oud in respect of timbres and technique’s evolutions, especially Barbat or Persian Oud, Arabic Oud and Turkish Oud. This piece is a story in the name of “in search of lost memory”. This story signals about tragic history of Oud in Iran after the wars (wars with Turks, Arabs, and Mongols) over the past thousand years that changed the destiny of Persian Oud. I have used Persian texts and I have made a series of combined voices, inspired by Turkish and Arabic phonemes, in several electronic tracks and also some phrases of a poem of Akhavan Sales (Mehdi Akhavan‐Sales was a prominent Iranian poet (1929‐1990)). In this piece, my priority is a negotiation between 2 concepts.
Using new Persian Oud timbers and improvisation based on Iranian modes and the other phonemes which have been extracted from Iranian literature and several musical cultures that they have presented through electronic signals and Oud player based on various functions of Oud in the world of music.
Did you write your piece for TRAIECT already?
Yes
Which elements of the instrument and the electronic were of your choice? What do you want to find out and express with them? Did you search for a specific sound and if yes which one?
I searched about techniques of Turkish Oud and Arabic phonemes and making a mixture of them in the electronic tracks.
What do you want to put in front with the piece? Do you pursue to present a specific sound or a message or whatever you want to explore and show?
Yes, I would like to present a specific mixed sound (Oud’s specific techniques and Vocals and electronic sounds)
An aural argument between the artistic modal improvisation, timbres of phonemes (player’s vocals and electronic sounds)
Are there any other compositions you or someone else made, that you want to connect to with your piece?
I am not sure.
Are there any other phenomenons of this world you process in your score?
Yes… probably.
Do you have an idea or a wish of what you want to use in your composition? If yes, what is it?
I would like to have an opportunity to perform my ideas based on the other functions of Persian music in the field of contemporary music such as: exploration on combinations of the timbers of the Iranian folk instruments inspired by different forms of improvisation and electronics parts.
Are there any sounds you want to discover?
Yes, absolutely.
What challenges do you see in the project you want to master?
I don’t know exactly yet.
Are there any other phenomenons of this world you want to process in your score?
A performance based on my piece. Performing and composing based on new attitudes on Iranian folk music. Such as: A performance based on composing on folk instruments and electronic sounds.
What else do you want to tell us about the project or your composition? Did we miss a question you wanted to answer but were not asked? Do you have any other comments?
I prefer to talk about my attitudes regarding to this experience after the project.
Thank you for your time and your interesting questions.
English version:
What is your educational background?
I began to learn music before primary school under my father’s training. My father Mohammad Hassan Radman was a violinist and a teacher of music school.
I was improving my knowledge of basic elements of music, piano playing, theory of Iranian music and Cognition of the Iranian Modes and repertoires of Iranian traditional music under the conservatory teacher’s supervision and meanwhile I finished my bachelor in the field of Electronic Engineering in Kerman University. In 1990, in the age of 18, I was a member of UNIMA as a composer. In 1995 I was accepted as a bachelor student in the field of music at the faculty of Fine Arts in Tehran University.
During my bachelor I had been trained in composition by Alireza Mashayekhi, Iranian music (Santoor repertoire) by Majid Kiani, and techniques of piano playing by Raphael Minaskanian. I also learnt orchestra conducting by Edo Miĉiĉ, Dr. Manouchehr Sahbaei and Iraj Sahbaei. After my bachelor graduation I got the first rank in entrance master exam and I started my master in the field of Musical Composition in Art University. In this section, I enjoyed having experiences with other professors such as Olena Dyachkova, Talib Shahidi, Ahmad Pejman, Hossein Dehlavi, Shahrokh Khajeh Noori.
I obtained my doctorate degree in music‐composition from A.W.U. in 2008.
How old are you and what situations coined your life, so that you decided to become a composer?
I was born on 20th June, 1973 in Tehran.
The presence of my father as a musician beside me and his trainings from early ages of my childhood was playing a key role in my artistic life. He was the first and the strongest inspiration in my life.
How and when did you discover your passion for composing?
When I was a child, I was able to perceive some Iranian musical phrases and imitate them. Definitely I was inspired by my father because he usually played violin from Iranian repertoires. I was very interested in orchestral music and I began to compose music based on simple poems and texts before Primary School. After graduating in the field of Electronic from Kerman University, I decided to learn the other musical skills with perseverance at Faculty of Fine Arts in University of Tehran.
What did fascinate you about it?
The effects of the Persian particular intervals and improvisation based on them.
What is interesting for you as a composer when it comes to contemporary music? How did you get to this kind of art?
In my belief, one of the most interesting elements in the contemporary music is “time”. This item has been a complex and sophisticated context in the music in all eras. The other item which is appealing to me is “aesthetics” and its developments in the course of time. The various attitudes in contemporary music, new approaches, and new musical techniques can show new and unique ways to achieve some new expressions.
I think, actually, developing in the field of this kind of art, depends on the various experiences.
Did you compose for other genres as well or have you had other contacts in music before? If yes, what are those?
Yes, I have had some compositions with Iranian orchestral music, movie music and composing based on Persian literature.
What was the reason for you to participate in TRAIECT? Did you know about the project before?
I have followed previous concerts and previous project via social media and the other information of some of my friends. I would like to participate in TRAIECT to get new experiences with the other musicians and composers and. It would be very worthwhile for me.
What is your personal interest in this project?
Having a new experience in composition using the techniques of Oud and electronic, getting to know the artistic taste of other composers and other cultures, and performing with great technical and musical facilities in an excellent concert hall.
What are you excited of in TRAIECT to discover?
I am excited to discover new attitudes and new structure in composition.
Did you take part in a project similar to this before? If yes, which one was it and how was the experience?
In 2016, I held a collaborative workshop in Royal Conservatoire of Antwerp based on "models of polyphony textures in Iranian music", I also performed one of my music in Bozar Festival in Belgium.
As a composer and conductor, I performed several projects with the Orchestra of Contemporary Music Researches Center in Fine Arts Faculty. (University of Tehran) and Department of music (Shiraz Azad University)
What instrument are you writing for?
Oud or Barbat.
What is contemporary music for you? How would you define it?
I think giving a definition for contemporary music is a troublesome issue for many musicians. Contemporary music definition is so comprehensive. The definition of this term depends on historical experiences in each culture and country. In contemporary music, I am sometimes influenced by variability of artistic forms, new musical textures, evolutions of some timbres of instruments (especially Iranian instruments), scientific and technological developments, literature and philosophy.
Which role does contemporary music have in the society in your opinion?
Contemporary music is often faced with many challenges which come from people and especial audiences and I really think, one of the responsibilities of the artist and composer is addressing these challenges.
What do you as a composer want to express, what do you want to achieve?
I really want to achieve a pure personal musical interpretation, more and more…
The project contains traditional Instruments and electronics. What is tradition for you? How would you define it?
Tradition is collection of information, customs, art and religious which is transferred orally from father to son or from ancestors to posterity.
The composers will create something completely new for this traditional instrument. Do you see a gap between tradition and the new way of writing scores for these instruments? If yes, which effect does it have?
In my opinion, as a composer, modern or traditional attitudes are only related to the approaches of the artists or composers. The gap between tradition and the new way can be changed based on the necessity of artistic tendencies of composer.
Is it possible to bridge those two spheres? If yes, how / if no or where do you think this is not possible?
Yes, before everything, I think we need to have enough dominance on traditional contents and forms and also having practical experiences on the contemporary arts. We can actually maintain some traditional musical elements and use them or their sections in the new structures, conceptions or contemporary approaches.
Which elements are going to be used? Which purpose do they have? What is the priority of the piece?
I have looked at the history of Oud in respect of timbres and technique’s evolutions, especially Barbat or Persian Oud, Arabic Oud and Turkish Oud. This piece is a story in the name of “in search of lost memory”. This story signals about tragic history of Oud in Iran after the wars (wars with Turks, Arabs, and Mongols) over the past thousand years that changed the destiny of Persian Oud. I have used Persian texts and I have made a series of combined voices, inspired by Turkish and Arabic phonemes, in several electronic tracks and also some phrases of a poem of Akhavan Sales (Mehdi Akhavan‐Sales was a prominent Iranian poet (1929‐1990)). In this piece, my priority is a negotiation between 2 concepts.
Using new Persian Oud timbers and improvisation based on Iranian modes and the other phonemes which have been extracted from Iranian literature and several musical cultures that they have presented through electronic signals and Oud player based on various functions of Oud in the world of music.
Did you write your piece for TRAIECT already?
Yes
Which elements of the instrument and the electronic were of your choice? What do you want to find out and express with them? Did you search for a specific sound and if yes which one?
I searched about techniques of Turkish Oud and Arabic phonemes and making a mixture of them in the electronic tracks.
What do you want to put in front with the piece? Do you pursue to present a specific sound or a message or whatever you want to explore and show?
Yes, I would like to present a specific mixed sound (Oud’s specific techniques and Vocals and electronic sounds)
An aural argument between the artistic modal improvisation, timbres of phonemes (player’s vocals and electronic sounds)
Are there any other compositions you or someone else made, that you want to connect to with your piece?
I am not sure.
Are there any other phenomenons of this world you process in your score?
Yes… probably.
Do you have an idea or a wish of what you want to use in your composition? If yes, what is it?
I would like to have an opportunity to perform my ideas based on the other functions of Persian music in the field of contemporary music such as: exploration on combinations of the timbers of the Iranian folk instruments inspired by different forms of improvisation and electronics parts.
Are there any sounds you want to discover?
Yes, absolutely.
What challenges do you see in the project you want to master?
I don’t know exactly yet.
Are there any other phenomenons of this world you want to process in your score?
A performance based on my piece. Performing and composing based on new attitudes on Iranian folk music. Such as: A performance based on composing on folk instruments and electronic sounds.
What else do you want to tell us about the project or your composition? Did we miss a question you wanted to answer but were not asked? Do you have any other comments?
I prefer to talk about my attitudes regarding to this experience after the project.
Thank you for your time and your interesting questions.
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