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Composer’s Note:
Different theories revolving the fundamental concepts in the traditional (Classical) music in the East )including Mode, Maqam, Adwar, Dastgaah and Lahn [Tone] (have each resulted in different schools of music and musicianship, which are all based on different aesthetic maxims of different countries.
By paying homage to the past traditions for playing ‘Tar’ (Plucked string instrument), and the Schools that have survived from the past, ‘Post-Orientalism’ aims to construct and develop a new theory for the traditional (Classical) music of the past. It will pay attention to compound musical aesthetics from its within.
You may not be able to find any traces of the traditions with the definitions that came earlier in this text, or methodologies that are shaped in the western Contemporary music.
Please don’t be surprised if it’s composition and development looks unpleasant or strange to you, or if you did not find its musicianship traits aligned with the sounds of the brilliant players of Tar!
The title for this strange composition is Post-Orientalism music.
‘Post-Orientalism III’ is a composition series that is written for the solo Tar and is written for and is dedicated to ‘Saina Zamanian’ and it now my honor to deliver it with respect. This series has an approximately duration of 52-minutes. It is also my honor that this album is finished and I can now share it with the admirers of music.
In this final part of the text I want to say thanks to my dear colleagues, Soheil Sheila, Reza Asadpour, Ramin Ashtari and Bruce Hamilton for being a guide.
Saboohi,
March 19, 2023
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Saina Zamanian (B. 1994, Tehran), is a composer, and a player of Târ and Setâr. She has studied Tār and Setār with masters of Persian music, figures including Hooshang Zarif, Hossein Alizādeh and Dāryush Talāyi.She graduated from the Faculty of Music of Tehran University of the Arts in Persian art music, and is now a professor at the Tehran Conservatory while pursuing a doctorate at the Jean Monnet University in Saint-Etienne.
She has participated in many international festivals, namely the Moqām (Uzbekistan), Folk music festival (Malaysia), etc. and was director of the Saba music festival in Tehran for two seasons.
To date, she has published four music albums entitled: "Eleven Tasnifs of Ali-naqi Vaziri", "Eleven Duets of Ali-Naqi Vaziri" "Rahgoon (tar solo)" and "Post Orientalism III". She is fluent in English and German and has made a variety of translations for books and articles into Farsi.
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Ehsan Saboohi is a composer and music theorist, he considers himself a post-orientalist composer, a term he has coined to describe a music language for analyzing the aesthetics of his and his colleagues’ compositions. He demands a different language of common Contemporary Classical music trends by taking inspiration from the philosophical-social ideas of the famous philosopher Edward Said.
“Post-Orientalism is a modern music language that uses microtonal sounds and intervals alongside altered sound chain and block structures to achieve a post-orientalism musical piece in different acoustic and electroacoustic compositions.”
Read more:
ehsansaboohi.musicaneo.com
postorientalism.com
credits
released May 4, 2023
Composed by: Ehsan Saboohi
Musician/ (Tar) Performer: Saina Zamanian
Sound Engineering/ Recording Studio Engineer: Reza Assadpour
Cover art Photography: Ashkan Noroozkhani
Graphic design/ Layout design: Ramin Ashtari
A&R, Publication advisor, Promotion: Soheil Soheili
Production and publication labels are: Post-Orientalism Music and Noise à Noise
Copyright is reserved for Noise à Noise, Post-Orientalism Music and Ehsan Saboohi.