Hossein Alizadeh, composer, string player, conductor, and researcher of Iranian music, talks about his experiences in the field of music in “Safheye No.” During this course, music, selection, playing, improvisation, orchestra and its etiquette, stage performance, the link between poetry and music, composing, making music and vocal music, composing for film, arranging music, and many other topics about music and learning music have been taught.
01 Hossein Alizadeh biography and introduction of the course
Hossein Alizadeh, a composer, Tar and Setar player, and an Iranian music researcher, is the master of music course in ‘Safheye No’. He is a three-time Grammy Award nominee, winner of the Biennial Asian World Music Award, winner of the Four Crystal Simorghs for Best Soundtrack at the Fajr Film Festival, and an internationally acclaimed composer. In ‘Safheye No’, he tells us about his experiences in the field of music and we travel to the world of music with Hossein Alizadeh.
02 A pleasant event brought me to music
On this page, Alizadeh talks about the pleasant events that brought him to music; the experience of living downtown, entering the music conservatory, the influence of a good conservatory, and university professors. His understanding of the experience of the Roudaki Orchestra, the Shiraz Art Festival, and his simultaneous work at the Center for the Preservation and Dissemination of Iranian Music and the Center for the Intellectual Development of Children and young adults was how he established his roots and grew.
03 What is the right age and how to begin music lessons
On this page Hossein Alizadeh talks about: the effect of music education from childhood, conscious choice of instrument, criteria of a good instrument, conscious choice of teacher, deliberate learning of listening to music.
04 Moving down the training path
To what extent is imitation necessary in education? How would an emulative composer turn into a creative one? Focused practice, sports exercises suitable for the musician, training by ear or note, new calligraphy in notation, and the need to write textbooks on music are some of the topics that Alizadeh discusses with us in this lesson.
05 From playing to improvisation
In this part, Hossein Alizadeh, by emphasizing the need to recognize talent and choose the right field of musicianship or composition, teaches the need for personal expression for the musician. Furthermore, he teaches how to improvise with melody transfer, interval change, and interference with time ratios by practicing an exercise.
06 Specialize instruments
In this lesson, the master of Tar and Setar says that he has explored the sounds of different instruments in his search for the essence in composing. It has led to the completion and invention of instruments such as shourangiz and salaneh. Alizadeh advises music students not to be afraid of exploring and experimenting.
07 Music; poetry and song
What is the connection between poetry and music? What is the difference between a composer’s work in choosing poetry for music or making music based on poetry? In addition, using popular music, selecting and guiding the singer measures, group or choral singing are parts of this course.
08 Music ensemble
On this page, Alizadeh discusses playing in a band in Iranian music. Attention to the piece’s structure, the necessary rules and delicacies in the orchestra, and the rule of composition in the National Instrument Orchestra are other topics of this course.
09 Band etiquette
How are empathy and success achieved in bands? What are the characteristics of a group leader? What is the difference between small group work and large group work? How to select the band members, the reasons for the ending of a band, and Hossein Alizadeh’s personal experiences in different bands are discussed on this page.
10 Scene performance
Alizadeh considers the stage to be the warmest and safest place in his life. What is the quality of being on stage? What difference does the spirit and meaning of music make in the type of performance? What are the etiquettes of going on stage? How to focus on stage? We hear the opinions of the instructor of this course in these cases.
11 When and how did I start composing?
Hossein Alizadeh tells us about his passion for composing and his experiences in the conservatory, the music preservation and dissemination center, and The Intellectual Development Center to this day. He explains how crossing this path led him from a skilled Radif player to someone who composes and plays with his expression.
Where does the piece start? What ideas can turn into lasting work? In this lesson, Hossein Alizadeh explains the contradiction in melody with the piece ‘Hesar’, the contradiction in rhythm by examining the piece ‘Neinava’ and the composition of ‘Dadobidad’. He teaches the link between having social insights, the creation of a new sound perspective and personal manifestations.
13 Contradiction, the basis of composition
What is the contradiction in music? How does the conflict in the composer’s inner state with the outer space of society manifest itself in the composition of the work? In this lesson, Alizadeh explains this contradiction by examining the piece ‘Nowruz 62’.
14 Making music, vocal music
Hossein Alizadeh believes that traditional music inherently, is not only instrumental music. Music is formed to express emotions that need to be freed from words. How would a composer add to the beauty of poetry? Is it enough to just pursue the beauty and rhythm of poetry? In this lesson, we will be acquainted with composing based on poetry by examining the piece ‘Asbe Bagha’.
15 Fusion music
Could Iranian music be combined with music from different parts of the world? How does the integration take place? Alizadeh believes that integration in music does not mean eliminating the originality of our music but considers it a meeting of two cultures that create a new message and language. He has reviewed his experience on the two albums ‘An Endless Vision’ and ‘Same Self, Same Silence’.
16 Composing for the film
Should film music not be heard? How to get to music from the sounds of movies? What is the role of theme and rhythm in film music? What should be the collaboration of a composer and a filmmaker to achieve common points and shared understanding? By expressing the experience of making music for films such as ‘Loved Ones’, ‘Gabbeh’, etc. we become acquainted with Alizadeh’s views in these cases.
17 Setting the music
The instructor of this course believes that the essence and pulse of the piece dictate how the work should be arranged. In this lesson, we will learn about music arrangement, recording knowledge, mixing and music mastering.
18 Artist and audience
According to Alizadeh, the pulse of the artist beats with the pulse of society. In this part, we hear about his commitment to society, promoting the audience’s taste and feedback on the artist’s commitment.
19 Personal etiquette
Every artist has etiquette to improve their quality of life and circumstances, to which they owe their success. On this page, we are acquainted with Hossein Alizadeh’s personal etiquette to maintain dynamism, continuous creativity, and passion for life.
20 The last page, the last words
On the last page, Hossein Alizadeh summarizes the course and shares his recommendations with the fans and the audience of this training course.