Last Day of Festival
Lecture – Workshop – Seminar – Concert
Lecture – Workshop – Seminar – Concert
27 February 2021
LECTURE on IMPROVISATION
Improvisation
A Critical Reflection on the Material and Design of Contemporary Classical Music (2)
Live Events
LECTURE on IMPROVISATION
LECTURE on IMPROVISATION
How to learn/teach improvisation
Improvising with gestures, words and images
Ulrike Brand
Saturday 27 February 2021, 12:30-14:30
Pass code: TIEMF2020
Improvisation
WORKSHOP IMPROVISATION
Experimental online workshop with Ulrike Brand
Playing pieces using instruments, voice, gestures and simple objects.
Participation open for voice and all instruments. The sessions take 60 min time and are for max. 3 persons.
Saturday 27th February 2021. 15:00 Tehran Time
Pass code will be sent to registered participants.
A Critical Reflection on the Material and Design of Contemporary Classical Music
In this seminar, we will critically reflect on a collection of prominent pieces, from the late 20th century to the present, which have been composed in either mixed-electronic media or influenced by electronic music. The selected works are from composers such as Fausto Romitelli, Franck Bedrossian, Bernhard Lang, Peter Ablinger, Philipp Leroux, Clara Iannotta, Simon Steen-Andersen, Mauro Lanza and Natacha Diels. These selected pieces are critically reflecting the material and structure of contemporary classical music by re-defining the relationship between the acoustic instrument, the electronic music medium and the performer. These pieces either created new structural possibilities or reiterated forgotten expressive qualities in the medium. The main goal of this seminar will be, based on the analysis of material, structure and the foundation of contemporary music, to foster critical listening and critical reflection of what music is.
Saturdays, 20, 27 Feb, 6, 13 March 2021, 17:30-19:30 Tehran Time
Pass code will be sent to registered participants.
Shaghayegh Bagheri and Farbod Shirmohammad
Challenges of the Performer in Electroacoustic Performances and Women as Singers
Shaghayegh Bagheri and Farbod Shirmohammad
Live on Instagram
Saturday 27 February 2021. 22:30 Tehran Time
Shaghayegh Bagheri and Farbod Shirmohammad
Daily Report
A Short Report on the Past and Upcoming Events
Concert (Pieces of RKC 2020)
Everything Has Change Without preamble
The importance of a concept in every culture has a direct relation to related words in it.
Peace and friendship are concepts that were mentioned 273 times in the Torah; the basis of the teachings of Jewish law promotes peace.
The main focus of the piece is on a religious poem and melody from Judaism which is based on the themes of peace, evolution, goodness and honesty.
The fixed media form is composed for human voice, and includes vocals, samples, as well as the electronics section, using CSound and Max programs, which are processed in Qbase.
Sepideh Yaftian
Biography
Piece for Two or Three Channels
The piece is indeed the second part of a three-section piece for two or three thought-out channels using some Laki vocal music of Northwestern Iranians and samples of cello and Trumpet.
The piece was actually supposed to be composed for a monologue-dance performance which was canceled because of the Corona Virus Pandemic; I, therefore, decided to reinterpret the piece in three sections.
Afshin Motlaghfard
Biography
https://www.instagram.com/afshin.motlaghfard
Sazo Avaze Nava
The piece is an attempt to integrate Iranian traditional music with Western classical music in its general sense, which has always been my personal tendency because of the educational experience in both styles of music; one can also recognize a tendency to polystylism in the piece. The piece is in a common form of Iranian traditional music, which often begins with a slow introduction and continues by sequences between vocal and the response of the instrumental part and there is a rhythmic section with a faster tempo that is usually located in the final third. Audio material of the piece consists of combinations of selected moments from the repertoire of Western classical music from the Medieval church music to contemporary pieces, Iranian traditional music and the audio material recorded by the composer from human voice, Tar, Setar, Kamanche, Santour, etc. Every element mentioned above, is used through electronic processing.
Masoud Hedayati
Biography
Shin
Shin is a concrete piece, composed in (ABA’), whose only material is human voice, either raw or processed.
In this piece, a Persian phrase is used, which was recorded by a tenor and a soprano. The phrase goes like: KOSHTAM SHEPESHE SHEPESHKOSHE SHESH PA RA. In IPA, it can be transliterated as: / kʊʃ.’tæm ʃɛ.’pɛ.ʃɛ ʃɛ.pɛʃ.’kʊ.ʃɛ ʃɛʃ pɑ rɑ /
It means: I killed the hexapod flea-killing flea
The phrase is a rather old and humorous tongue-twister, widely known in Iranian culture. Tongue-twisters are indeed phrases that due to their complex and special alliteration end in verbal confusion when repeated fast several times. These repetitions comprise an important part of the piece.
Deniz Tafaghodi
Biography
Daramad
In Persian,“Daramad” means to start music and also, it is a classical form of Persian music, however, it means to learn music with a deep perspective to theory and techniques for me. In this music, I tried to make a connection between language from a sense point of view and fixed media as a musical atmosphere. The relation between sopranos parts is based on rhythm, counterpoint movements, nonmeaning words and alone letters.
Ali Balighi
Biography
https://www.instagram.com/ali_balighi
Something About 1130 CM^3
“Something about 1130 cm^3“, which is actually the volume of a woman’s brain, is inspired by a type of mental disorder called Reduplicative Paramnesia; this sense of mental repetition and sensory induction is manifested by using a poetry called “Nothing in the drawer” by Ron Padgett.
The fixed media includes vocals, samples, as well as the electronics section, CSound, Max processed in Cubase.
Sepideh Yaftian
Biography
Engasht
In this piece, human voice is used as one of the main constituent elements in various forms, for example the use of human voice in granular synthesis as a source file. Coding, generating, and editing a human-like sound (such as creating a human-like sound and then converting it to another sound, such as a drop of water) by the fof Upcode in C-Sound, or using direct recording of the singer’s voice and editing it. Other materials include the use of synthesized and recorded guitar sounds and stringed instruments edited in C-Sound software. These materials eventually combine to create an eerie atmosphere in which the listener can clearly follow the action and reaction between the real human voice and the computer-generated sounds.
Arezou Rezaei
Biography
A Place to Sleep
Sleep is an escape. The solitude out of this disturbing world leaves no way other than creating a dream in the realm of sleep. The perseverance of constructing the palace of joy is a deathly form of insanity.
Hatred is always forcing you down on a road in which, the futility of traveling is obvious from the very beginning. However, the very same constraint would make you travel conveniently. To forget painlessly.
Suffering has no place in dreams, as dreaming is what you wanted. For sure, to dream better, I shall endure the suffering endlessly. The beginning of your dream is always the destruction of the present world of mine.