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Māhour for Cello and Live electronics Roxanna Albayati, cello & voice Marat Ingeldeev, live electronics Music and Intercultural Practice Symposium University of Hull 29-30th April 2021 |
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The words “composition”, “performance” and “improvisation”, which are so well defined in the Western art music context, are rather unsuitable for Iranian classical music. The word “improvisation” in fact was never used until the twentieth century, when the Western concept was introduced in Iran.
Despite scholars determining improvisation as the basis for Iranian music, it has been argued that it more a concept of “creative performance” which lies at its heart (Nooshin, 2003). This form of creativity sees no distinction between a performer and composer, and this is heavily grounded in the music tradition of Iranian Dastgāh. With a foundation of rigorous traditions and history, performers find themselves in a space and system which encourages spontaneous playing and naturally cultivates “creative performance.” Dastgāh-e Māhour is one of 12 dastgāhs within the tradition, each of which encompass their own modal system and melodic characters. This performance is Roxanna's interpretation of Māhour, merged with her and Marat’s practice of free improvisation and live electronics.
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Homāyun November 2020 Trinity Laban Finale to Masters final recital. It explores Dastgāh-e Homāyun, intertwined with quotations from my recital's repertoire. |
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Wondering
Exploring Dastgāh-e Homāyun December 2020 Faraz Eshghi, kamanche Roxanna Albayati, cello |
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Prelude: creative reflections in isolation Prelude to New Lights Festival, Trinity Laban July 2020 This prelude explores concepts from Dastgāh-e Chahargah. |
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