Darius Sepehri does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment. Weaving through the rooms of my Brisbane childhood home, carried on the languid, humid, sub-tropical air, was the sound of an Iranian tenor singing year old Persian poems of love. I was in primary school, playing cricket in the streets, riding a BMX with the other boys, stuck at home reading during the heavy rains typical of Queensland. I had an active, exterior life that was lived on Australian terms, suburban, grounded in English, and easy-going. I was listening to traditional Persian music museghi-ye sonnati. This music is the indigenous music of Iran, although it is also performed and maintained in Persian-speaking countries such as Afghanistan and Tajikistan. It has ancient connections to traditional Indian music, as well as more recent ones to Arabic and Turkish modal music. It is a world-class art that incorporates not only performance but also the science and theory of music and sound.
Beyond media contrived images
Connections with classical poetry
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ABSTRACT: This essay explores new forms of improvisational practice being developed by Iranian musicians in a tradition where the canonic radif repertoire has been central to improvisational practice for more than a century. I ask what the work of these musicians might tell us about the future direction of creative practice in Iranian classical music. As well as breaking out from what they view as the constraints of the radif , these musicians are also exploring the relationship between the improvisational and the compositional through their music. In large part, such changes have come about through the emergence of a new kind of musician: broadly-educated graduates, cosmopolitan in outlook, many formally trained in techniques of composition, and so on. What I find particularly intriguing about their music is that—in contrast with more traditional practice—Amir and Hooshyar have articulated a clear framework for their creative work, and made it available in the public domain. Amir Eslami b. Figure 1. Indeed, somewhat astonishingly, their album All of You represents the first collaboration between musicians from these different backgrounds.