Last Day of Festival

Lecture – Workshop – Seminar – Concert

Lecture – Workshop – Seminar – Concert

27 February 2021

LECTURE on IMPROVISATION

Sunday, 27 February 2021, 12:30 | Tehran Time
Sunday 21 February 2021, 15:00 | Tehran Time

A Critical Reflection on the Material and Design of Contemporary Classical Music (2)

Saturdays, 20, 27 Feb, 6, 13 March 2021, 17:30 | Tehran Time
22:30 | Tehran Time
23:45 | Tehran Time

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.

Ashkan Behzadi is a Lecturer in Discipline at the music department of Columbia University. He has received his DMA in composition at Columbia University under the supervision of Fred Lerdahl, George Lewis and Georg Friedrich Haas. Ashkan also spent a year at the University of Chicago as a 2019-2020 postdoctoral fellow in composition at Chicago Center for Contemporary Composition (CCCC). Behzadi also received his bachelor’s degree in composition and music theory at McGill University where he studied with Chris Paul Harman, Brian Cherney, Philippe Leroux. Prior to this, he earned a bachelor's degree in architecture from Tehran University. While in Iran, he also pursued studying composition and music theory with Alireza Mashyekhi. Ashkan’s music has been performed by various ensembles such as Jack Quartet, Grossman Ensemble, Exaudi, Wet Ink, Talea Ensemble, le Nouvel Ensemble Moderne (NEM), Esprit Orchestra. He has also won number of competitions including the Graham Somer competition in Montreal and the Prix de Composition at Fontainebleau in Paris.
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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

Sepideh Yaftian, born in 1995 in Tehran, studies for a master’s degree in entomology at university of Tehran. She started playing violin since 9 with professor Rayisfarshid and professor Pourtorab . She has cooperated with groups of artists, music school, and Sadra Orchestra. Since 2014, she has collaborated with Yarava Modern Orchestra as a violin player. She has also been a member of the research and public relations department of Yarava Modern Group. She attended courses of classical composition by Alireza Mashayekhi and Csound by Joachim Heintz, Farhad Ilaghi Hosseini and Amin Khoshsabk.
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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

Afshin Motlaghfard(Shiraz-1991) began his music studies with Violin and under the instruction of Kaveh Keshavarz, Then he attended in theory and composition classes of Ali Radman. In 2014 graduated from Azad university with a bachelor’s degree in composition and after that pursued his studies in Composition with Mehdi Kazerouni. He is currently studying composition under the supervision of Ashkan Behzadi.
https://www.instagram.com/afshin.motlaghfard
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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

Masoud Hedayati, born in 1369 in Bojnurd, North Khorasan Province of Iran, is still living in his home town. He started playing Tar and Setar -Iranian traditional music instruments- from the age of 9. He got interested in learning and experiencing Iranian and classical music composition from the age of 18. In 2014, he got the first rank of the entrance examination of the master course of Music in the Department of Fine Arts in Tehran University. So far, he has been honored to study music composition with many composers like Nader Mashayekhi, Reza Mortazavi, Professor Shahin Farhat, Professor Amin Honarmand etc. He has also composed about 70 pieces of Iranian traditional music and classical music with the taste of contemporary music, most of which were influenced by the idea of combining Iranian traditional music with Western classical music.

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

Deniz Tafaghodi, born in 26.08.1997, Tehran, Iran, earned a bachelor’s degree in music from Faculty of Art and Architecture - Azad University of Tehran. She started playing the piano since 2003 and composing music and sound designing for theaters, dances, games, and performing arts since 2012. She has been working at “Zerone Duo” as a sound artist since 2018.
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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

Ali Balighi is an experimental composer. His works are mostly composed based on traditional and folk music of Iran. His main tendency is on micro-tonality and new perspective of instruments. His works have been performed at contemporary music festivals in Iran, Portugal, Finland, Belgium, Canada, Germany, Poland, Latvia and The USA.
https://www.instagram.com/ali_balighi
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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

Sepideh Yaftian, born in 1995 in Tehran, studies for a master’s degree in entomology at university of Tehran. She started playing violin since 9 with professor Rayisfarshid and professor Pourtorab . She has cooperated with groups of artists, music school, and Sadra Orchestra. Since 2014, she has collaborated with Yarava Modern Orchestra as a violin player. She has also been a member of the research and public relations department of Yarava Modern Group. She attended courses of classical composition by Alireza Mashayekhi and Csound by Joachim Heintz, Farhad Ilaghi Hosseini and Amin Khoshsabk.
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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

Arezou Rezaei, born in 1995, started her musical life with playing the piano. She took composition lessons with Karen Kayhani In Tehran. In 2015, she began studying for a bachelor's degree in composition at Tehran University of Arts. In 2017 she went on to study composition at the Stuttgart State University of Music and Performing Arts in Germany with the Professor Martin Schuettler. She has also participated in various workshops in Europe. She currently works as a composer, pianist and piano teacher in Germany. Her works have been performed in various cities and festivals.
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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.

Vahid Alahverdi

Biography

Born at Kerman, Iran. Bachelor’s degree in music (piano performance) from University of Tehran.