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pop music through the lens of literature; To believe, there might be a place, maybe...

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In our literature, less research work is done and if we are going to go to the field of music, which is completely neglected in the field of research work. Now a writer who is interested in music has been found who researches in the field of music, not regional and folklore music, but pop music, which unfortunately few people take it seriously, even though it is one of the most influential and important arts on popular culture. We have a review of Hossein Asaran's three books about the three great composers of Iranian pop music.

The Book of Rain of Love

The book of Rain of Love by Hossein Asaran on the subject of the biography and half a century of artistic activity of the musician Nasser Chashmazar and famous composer of Iran was published by Nizam al-Molk Publishing House.

This book is the result of the author's day and night efforts to collect the biography and artistic activities of Ostad Cheshm Azar and analyze the marginal, artistic and musical trends of the last 50 years, interviews with artists , film and music interns such as Dariush Mehrjooi, Farhad Fakhredini, Ahmad Pazhman, Jahanbakhsh Pazuki, Sadeq Nojoki, Mohammad Heydari and Saeed Dabiri with a new look.

Nasser Cheshm Azar in 1329 in Ardabil He was born. From his childhood, he learned music from his father Ismail, one of the famous musicians of Azerbaijan, and based on his interest in Azeri music, he chose the accordion, and by learning the basic theory of music from his father and studying educational books from professors such as Morteza Hananeh, Malek Aslanian, and Ruhollah. Creative use. He went to America in 1357 to continue his studies in the field of music, and he was engaged in composing and arranging music, and composed several music albums without words, such as "Shabhai Tehran".

This composer started his career in music. pop started recording songs as an accordion, piano and keyboard player. "O Ashk" was his first independent work and he soon became known as an arranger with the style of song music.

The music of the movies Taraj, Renters, Hamon, Salamander, Cargo and Lady in 1363 after he returned to Iran during the war was left by him.

Nasser Cheshm Azar. He pioneered the introduction and popularization of electronic instruments in Iran, and the brilliant and artistic combination of these instruments with Iranian music is one of his valuable services to the art of music.

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Nasser Cheshm Azar was present everywhere in our music, and from this point of view, in the history of our contemporary music, if we do not say that he is unique, he is definitely rare:
"Making and arranging music for a song", arranging music For songs, film music, wordless music, children's music, music for poetry reading, music, concert performance and orchestra conducting and other fields. Relying on the collection of his works in this vast area, I do not believe in his death.

Although it was not bitter, the possibility of seeing his kind face and always joyful voice will remain with me, but for me, Nasser Cheshm Azar, in The rain drops and the blue sky are sitting. Every time it rains, I collect all its drops and hear the rain of love that starts from the sea and ends at the sea; And whenever the sky is blue, I see above me all those lovebirds that he sang to them with the pan flute and took the love song out of their throats, that they brought me a message from his throat. spends with the instrument. He loved the instrument and during the interview for the book Baran Eshgh, he stated several times that he loves to carry the instrument and show that his life is spent by making and performing music.

Hossein Asaran

Making and performing music means that he was both a musician and a composer. Undoubtedly, there is a big difference between these two expressions, and there is no room to expand their meaning and difference here, although relatively every composer has a level of musical knowledge, and every musician can be called a composer by creating a work. But perhaps it can be said with tolerance that the measure of becoming a musician is the degree of utilization of the teachings of music science, and the primary tool for obtaining the degree of success in being a composer is the level of acceptance and pleasantness of the target audience of each work.

But What is and can be stated clearly is that Nasser Cheshmazar, while having the full range of meaning of both of these expressions, also had the skill and knowledge to create memorable works from the combination of these two. Although his works were always directed towards the general audience, he was one of the few whose works did not meet the public's taste to become popular. By living in the context of society, he knew the border between becoming common and being torn from the common. According to Esfandiar Monfaredzadeh, he was like a magnet who was neither so far away that the chips were not at his command nor so close that the chips stuck to him and he became one of them. Nasser Cheshmazer had the skill to stand at a distance from the pieces and move them with him. His compositions became popular, he himself, for his work, wore the clothes of a music critic and went to criticize it. Every time he won an award, the musician himself went to evaluate that award and statue: when he became the best arranger of the middle years of the 50s, he protested that: why me first and Varujan second?

Every time the Crystal Simorgh From the Fajr Festival, he criticized the jury that why did you award my music? For the poisonous mushroom, he said: After all, what pleasure can I get from the music of the film that was delivered to me three days before the festival? Majid Tazami had understood the movement of his music from one step to another, not by modulation, but by successively solving several chords together, and he had transferred that technique and skill to the jury. He was pleased with this point of view and once jokingly told his assistant, Sepehr Abbasi: Look what thick-necked comrades I have.

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And when it came to rating the level of musical education, he stood by the street people. He said: What did you do for these people? Did you make them happy? Did you make them sad? Did you look into their eyes at all? And because he had the knowledge of music, they could not condemn him to populism. He used to say: I have a duty to make people's lives more beautiful with instruments and music.

And he had no red lines in this field, exactly contrary to his rigid principles and standards in making and performing music. Search for the name of Naser Cheshmazer on the Internet and judge his success in this way. Have you seen him dancing and stomping with the residents of Mashhad Mental Hospital? Or his companionship ceremony with Roshandlan?

When he was happy from the bottom of his heart, he would laugh with one eye and that one would change less. When he crawled to the bottom of the earth and fell asleep, I wandered to see his moon face for the last time. The hand of Shahab Ahmadlou, who was covering his face and crying, covered his face. I was waiting for a moment for his hand to move away. A lifetime passed until that moment. In that interval, all my memories with her passed from my mind: I reviewed her miraculous hands and moon face and her sweet tongue. Those rainy nights and midnights full of instruments and music and... in this transition, I saw nothing but innocence.

When Shahab left, I came to my senses. I saw him for a moment and for the last time; He was laughing with one eye.

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This book is the fruit of a lifetime of wandering, the clear atmosphere that passes through my childhood home, the image of my father's kind hand in the cinema waiting room. He would come out of his pocket with money and return to me with a ribbon, bring it from the end of the cold earth and pass it in front of me and take it to the sky. The sound of which comes to life from listening to my mother's whispers of songs and songs and takes me back to my childhood. He reached the ground and the mountain. In this way, I had the honor of sitting and talking with a group of music and cinema figures, conversations that were detailed and their leaves came out of the book and were inevitably weeded so that only the parts related to the text of the main topic made our table more colorful. have done In the meantime, the longing for the presence of our beloved Manouchehr Cheshm Azar remained in our hearts when they saw Salah in the curtain call.

This book, however, came to life from the love of song-making artists who have now become history. Humble gardeners of art and music who are scattered in the mind and soul of a nation because of their commitment to beauty, the seed of love and mania. After their art, trees grew, which grew strong over time and demolished the historical fences to become the forest itself, tall enough not to be bitten by political storms and the rain of events. Nasser Chashmazar is one of those great gardeners whose artistic career is more shadow-creating than the range of songs that he is the singer of love. /h2>

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In my mind, the most important characteristic of Monfaredzadeh is his difference in thought and vision and his being a leader in creation. His well-known works were progressive and fresh in their time, and over time, they have become an indicator of the art of their time. But all of this is the product of his fame from "Caesar" onwards; After he was able to follow his own taste, constantly pass himself, experience and reflect himself in his choices. In this book, one could quickly go through his childhood and adolescence and reach his prominent and prominent career from "Caesar" onwards, thus making him look like a genius and talented. But I have learned from him that no one is born wise. It is the efforts, experiences and quality of human life that gives them an identity. Capability in artistic creation, apart from what we call "individual talent", requires experience and passing through black exercises and in the meaning, "cultivation". His words also show that he lived awake and alert; risked for experience; He nurtured his dreams and went ahead for them.

Part of the introduction of the book "Esfandiar's Identity Card" Manfardzadeh" written by Hossein Asaran

Manfardzadeh started composing in "Radio Iran" in 1335 and continued until eight years later. Before that, for a short period of time, it was repeated on "Radio Niro Ahaiy" and Lalezar theaters. At the same time as arranging the operas of Persepolis (1346) and Conquest of Babylon (1347), he composed the music for the films Hengameh (1347) and Jahannam Sefid (1347), both directed by Samuel Khachikian.

Two songs for the voice Serhangzadeh's course in the movie Hassan Kechel (Ali Hatami, 1349) is also one of his works. The period of his cooperation with Masoud Kimiaei, Amir Naderi and Bahram Bayzaei is his most brilliant career as a film music producer. During this period, he was in charge of composing for films such as Amo Sibilo, Gozenha, Tangna, Dash Akel, Khudahafez Rafiq, Reza Motori and Qaiser, and his most famous work is the music for the film Qaiser. Qaiser and Reza Motori won an award from the Pasas Film Festival. Most of his works have been performed with Farhad's voice. Monfaredzadeh has been friends with Masoud Kimiaei since childhood. Farhad, Shahyar Ghanbari and Esfandiar Monfaredzadeh on the cover of the song "Juma" He, who half-finished his studies in the field of music at the Faculty of Fine Arts of Tehran University, could not finish this field at the Vienna University of music either.

He In 1346, he was also active in the field of Persepolis operas. In 1344, along with Ali Akbar Sadif, Reza Narvand, Parviz Atabaki and a group of other artists, he collaborated in the performance of the opera Fatah Babylon in the Ferdowsi Hall of the Faculty of Literature of Tehran University.

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The book "The biography of Esfandiar Monfaredzadeh: the first book, from the beginning to Qaisar" was published by the efforts of Hossein Asaran under the efforts of Negah Publishing.

Masoud Kimiaei, a long-time friend of the veteran musician and composer, has written an introduction for this book. Also, in this book, Monfaredzadeh's conversations with Nasser Zahiri, Hani Zahiri, and Hossein Asaran and the statements of Faramarz Gharukan, Reza Narvand, Ebrahim Salmaki, Jamal Vafaei, and Mohsen Pafide have been used.

This book contains parts of the life of The composer narrates Pishkesut in the form of different chapters, which are as follows: "Dardar" alley, "Paradiso Cinema", to "Bibi Shahrabano" court, music game, "Lalezar" university, oud, "Jovanan" orchestra, "Shama and Flower" And Parvaneh", profession: Nazash-Saz, Submeri Par Noor, Fatehnameh "Students", two and a half years as a student, the dream of "Meetings", "Golden Dreams", "Alien Come", soundtrack: Samuel Khachikian, "Lion in Winter", Esfandiar Monfaredzadeh's rapid passage through life. Also, at the end of the book, a list of names and a photo album are on display.

A part of Masoud Kimiaei's income for this book states: "I wish we didn't let anyone into the garden...

Whatever was, was good.

There was poverty; It was Ray Street; The cinema was four and five rials; The bread in your house was always fresh in the pot; It was good.

Your mother was worried about me in your fight with me, when you were heavy; It was good.

Our fathers and mothers loved us equally; It was good.

These did not end, they came to the future. They came to the old house; But they did not go. It was good.

Other futures came. Now I was no longer depressed by the times.

Esfandiar Monfaredzadeh, my friend and my homeland - which was just a dead end alley - was with me. His knowledge was not in language. It was in the human race; It was very good.

Esfandiar Monfaredzade played double bass; We used to say that this is not your instrument, there is no feeling or love in it. Esfand once played violin; Until we listened, it repeated. We came to listen to the oud, he played the dulcimer; hit We didn't say Tembak.

Then he let go, he came out of that tulip field full of identity. played the piano; He measured the poem for reading; brought together He has a new music full of beautiful breaths and the land.

He created the identity of singing ballads and new music.

Without turning around, without prepositions, this music is his.

Next, the second volume of Esfandiar Monfaredzadeh's birth certificate will be published with the title "From traveling to learn to the inevitable migration" and the third volume with the title "From self-exile to now".

The first volume of this book series will be published in 259 The page has been put on the book market at the price of 150 thousand Tomans.

In the same neighborhood as ours, there was a national girls' primary school called "Ekramiyeh", whose director, Mrs. Jirsaraei, wanted her son, Ali Jirsaraei, in the same school. to study, he enrolled four or five other boys in that girl's school. Sewing lessons and these kinds of skills for girls, such as sewing, stitching and backstitching, were also part of our lessons, where I learned these skills. In any case, I was there until the end of the fifth year of primary school, along with these few male classmates. We started the 6th grade there, but at the beginning of the 6th grade Mrs. Jirsarai kicked us out of school because of the usual curiosities about the opposite sex and sent us to "Tadin" elementary school in "Shah" square. It was there that the first signs of understanding the attractions of the opposite sex appeared in me. It was at the same age of ten or eleven that I slowly came to the street and became a so-called "street kid"...

My friendships were formed from the same age of ten or eleven, first with Kimiaei and Hossein Zandi, and then together with other friends The door of our house opened onto a rather wide dead-end street where Masoud's house was. Masoud and Faramarz were already familiar with each other; Then Faramarz also came to "Dardar" alley and we got to know each other and become friends. Faramarez was always a quiet person, calm on the outside, but turbulent on the inside. Perhaps, from my point of view, this is the best description for Farmarz. The love for acting in the cinema was in him since that time, but the energy that Masoud and I used to start working in the cinema...

Esfandiar Monfaredzadeh

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Esfandiar Monfaredzadeh learned the basics of learning music from a young age, self-taught in the form of playing tembak and centaur, then double bass and oud, and simply relying on reviewing and learning the few educational books of that period (such as Ruhollah Khaleghi's educational books). At the age of seventeen, he was first employed as a double bass player in the fledgling radio youth orchestra, but after a short period of time, relying on his self-taught knowledge of music science, he took charge of arranging, orchestrating and leading the orchestra's performance as well. In parallel with this internship and art training, he was also engaged in playing in Lalezar orchestras and air force radio. In the middle of the forties, he also led the student orchestra (as a continuation of the radio youth orchestra) and performed on various occasions, including the opening programs of the academic year at Tehran University.

Based on these experiences. In the academic year "1345-1344" and at the same time as the establishment of the music department in Tehran University, he was accepted in the entrance exam of the first course of this department, and there under the supervision of professors such as Hoshang Astvar, Dr. Barkeshli, Noor Ali Broumand, Alfred Bardorian and... his musical knowledge added more From the words of Monfaredzadeh, it can be seen that empiricism and learning while working have been the most important areas of his art education during this period of his life:

The experience of working with radio youth orchestras and university students gave me the opportunity that before Since entering Tehran University, I was able to experience the range of sounds of each instrument and their combination in different orchestras. Gradually, as the orchestras got bigger, I went from writing monophonic music to harmony and slightly more complex arrangements, and I arranged, conducted and performed the music for the opera Fatah Babylon composed by Reza Narvand for a sixty-member orchestra with fifty choruses. In my opinion, there is no more useful method for learning more music than experiencing and performing what you have learned!

... Watching the movie and listening to the music along with it, unconsciously had its effect on our youth and gradually became more important to me. In fact, playing the music of the movies I had seen before from the speaker in front of the Damavand Cinema on Rey Street was like watching those movies again. Where the sound and music of the film were played together and we heard it before entering the cinema and talked about it, but we could not play it, because the texture of that music was not monophonic or monophonic. When I was watching a movie in the cinema, when the music started, I went to a dream as if I was in the same scene. I had absorbed the story of the movie Kaiser in every way. While filming, I saw that everything was as it should be. I knew the person that Masoud makes, I knew all the people whose roles are played in front of the camera, and behind them all, I also knew the people of the bazaar, the neighborhood and the street, the house and the family and all of these. It was a strange thing; Qaiser's music is the fruit and product of my childhood life under Bazarche. I had seen and experienced that life. Maybe Massoud remembers that while watching the initial montage (rough-cut) of "Qaiser" I couldn't stop crying because I was so happy. Qaiser's music was a reflection of the emotional shock that Kimiaei gave me with the form of making Qaiser's film. For Qaiser's music, I used Homayun, Dashti and Shushtri, which are in the framework of Iranian classical music and are naturally familiar to Iranians. But in order to expand and orchestrate my melodies, I turned a blind eye to the disturbance of traditional quarter notes, that is, I "tampered" them, which fortunately resulted in a good experience. Because the audience of the film still hears "Humayoun", with the difference that I was able to use the chords I wanted; Besides, I used mostly contrapuntal movements for orchestration and polyphonic setting of the pieces. Because I believe that in order to make Iranian music polyphonic, it is better to go for this technique so that the ears of most Iranian listeners, who are accustomed to monophonic music, can gradually become familiar with polyphonic music. The final stages were the technical works of the film, the speeches, music and effects were mixed. As usual, the production team saw the film in the studio of Mithakih with the presence of Shabaviz and Mehdi Mithakih. When the movie ended, Mithaqiyeh congratulated Masoud and thanked Behrouz and others. Then to Rubik Mansouri said: "Make an effort and use your music pages on those places where there is no music!" It was like ice water poured on me. The covenant was obeyed; He was also the head of the Syndicate of Cinematographers and was considered to be an all-rounder of Iranian cinema. For the production of Qaiser's film, he had left his equipment and studio at the disposal of Shabaviz. In addition, he was a good and respectable person; Therefore, he could not easily ignore his words. I was really disgusted. I didn't want the movie Kaiser to have more music than this. Masoud and Behrouz were stunned as to what to do. We held hands in Rubik's lap. I was satisfied to remove the music that I had made with passion and love and performed with great effort from the film, but my rights as the composer of the film should not be violated. I begged Rubik: "First remove my music, then replace it with another music!" Fortunately, Rubik was able to satisfy Mithaqiyeh so that my music would be enough for the film...! In that period, the title of soundtrack producer had no meaning in Iranian cinema, and the producers did not like to pay for this profession. This work was mostly the responsibility of Zindyad Rubik Mansouri and others like him, who used a mixture of music from different foreign films, sometimes together with European classical music, to choose pieces for different scenes of the films and instead of creating the soundtrack, they used it. This work was part of the duties of the technical staff of the studios and they were not paid extra for it. Because of this, I didn't expect to be paid for performing Caesar's music, and I had to work for free to do what I dreamed of, which I did. Just for the love of doing it; But to record the music I had written, I had no choice but to use professional musicians. Most of these musicians were employed by the Ministry of Culture and Arts and its symphony orchestra and were not allowed to play for other programs; But due to my connections and acquaintances with some of these musicians in the "Student Orchestra" and with the help of Mohsen, I was able to quietly bring those musicians to the studio and record Qaiser's music... thanks to Massoud's request. And I, Shabawiz agreed to pay only the musicians' wages; But estimating the cost of musicians became an issue. Because there was no history of private recording of non-governmental film music.

Each musician was paid a certain amount for playing a 4-5 minute piece of music of a song. I had to think about the music for the film and the pieces of ten seconds to two minutes. Finally, we reached the conclusion with the musicians to calculate their wages by the hour, and with this calculation, after my insistence, Shabawiz only agreed to pay for four to five hours of the musicians' work; That is, I had only five hours to record the music of the film Kaiser, from the rehearsal to the end of the recording. I accepted with love and enthusiasm. It was with my research that I imposed the creation of the soundtrack for the film on the Iranian cinema... But as soon as I mentioned the name "Pool Studio", Shabaviz said: "No more!" Let's record in the Covenant studio itself." Mithaqiye studio was actually a studio for technical work of films and did not have any music recording facilities at all. Its acoustics were not suitable for music, while its recording system was equipped with 17/5 "magnet" tape, which was suitable for recording film sounds and was used for this purpose; But because Mithakih had given Shabawiz all the facilities of his studio to make Qaiser's movie, and Shabawiz did not pay for this studio, I had to record the music in this studio. From Naderi street, going to the south of Qawam al-Sultaneh, right after the church, there was an alley on the right side, where the second building, on the left side, was Mithakieh Studio. The rooms for screening and recording dialogues, effects and dubbing of movies were on the floor above it. I forcibly put about twenty musicians in this room to record Kaiser's music. I remember that we didn't have a place for the Tembek Zorkhane musician, Abbas Shir Khoda, to sit until I finally put him on the platform under the curtain. The musicians sat down in this hall, which was about six meters by seven meters, and we recorded. Buy the birth certificate book of Esfandiar Monfaredzadeh from BingMag

Introduction of the book Varujan by Hossein Asaran

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"Varojan" is a familiar name in the field of composition and arrangement, which is dedicated to a great personality in the sky of Iranian art named "Varozh Hakhbandian". The life and professional activities of this artist of Armenian origin were recorded in a book with the name "Varojan" on the cover, by "Hossein Asaran" and this work is also an important literary research, a kind of historiography of Iranian music.

In 1315, a boy named "Varoj" was born in the Hakhbandian family living in Qazvin, who was destined by fate to have nearly 35 years of his ups and downs life before his name was mentioned in Sadr should not sit on top and his presence should be considered a turning point in the history of Iranian songs and music. It is as if he himself knew about his sweet fate and knew what name would be used for his fate from the Armenian dictionary, when he called himself "Varojan" in his youth.

Many consider him as one of the foundation Founders of pop style in Iran they learn In addition to creating beautiful music, he has played a very prominent role in the soundtrack of many films. Therefore, reading this book is recommended for music lovers. This book is not the beginning of the path, it is a shortcut to it. The beginning of knowing any artist is to review his works. Varozh should be heard and enjoyed. The regret of this book is the lack of a detailed and refreshing archive of his and other music artists' works. Just as a few years later, he became the leader of the song-making artists who intended to move and fly from the land of repetition, towards renewal and shedding skin in the process of skinning the world; But from his life, all that remains in the minds of his colleagues is silence, kindness, and love for music, as well as the desire to be invisible, alone, and work. He went to music and after gaining the necessary skills, he composed and arranged pieces that still have a special place in the country's music industry. Although many prominent musics originated from the creative mind of "Varojan", he did not use his name to present his works for a long time.

He was one of the few composers who had his unique style in music Irani memorized and did not arrange songs based on current music trends or traditional music. In this way, Varujan's signature has remained on famous songs and songs such as "Good Smell of Wheat", "Sham Akher", "Shab Zada", "Kundu", "Mah Pishuni", "Bradarjan" and "Sultan Sahibqaran" and these songs are still audible. The listeners will cheer themselves up.

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"Hossein Asaran" wrote this work from a conversation with the closest companions and friends of "Varojan", which include Shahyar Ghanbari, Hassan Shamaizadeh, Babak Bayat and Esfandiar Monfaredzadeh mentioned. "Hossein Asaran" has been loyal to his research sources and the selected texts for this book have been included in the book from magazines and newspapers and radio and television programs. The work also contains images and photos related to "Varojan" which have been provided to the lovers of this great artist in the field of music.

Hossein Asaran, the author of this book, says about the process of creating this book: The idea of writing this book was with me for years until it became more serious in the last stages of creating my previous book "Love Rain" and the work of researching and collecting documents The first one started from the same winter of 2014.

In this way, apart from reviewing and recording film and music magazines of the 30s, 40s and 50s, with artists, artists and interns in the field of music and cinema, who each In some way, they have been in artistic and professional relationship with Varujan, they have been discussed and their opinions about their cooperation in this work have been collected. Or the direct statements of well-known figures in this field should be based and each of the statements should be matched with other available sources. It has been decided to collect new and complete information about this late composer to help the audience to know more about Varujan's mental and artistic world. In this regard, a large volume of unseen documents and photos, complete tables of all Varujan's musical works and several other parts have been attached to the author's text. Varujan, the late composer and arranger of Iranian music. Hossein Essaran, the author of this book, said about the process of creating this book: The idea of writing this book was with me for years until it became more serious in the last stages of shaping my previous book "Rain of Love" and the work of research and collecting primary documents started in the winter of 2014. It started.

In this way, apart from reviewing and taking samples from the cinema and music magazines of the 30s, 40s and 50s, with artists, artists and interns in the field of music and cinema, each of them somehow related to art and have been professionals with Varujan, and their opinions about their cooperation in this work have been gathered.

This music researcher, referring to the inadequacies in the field of recording the history of Iranian songs and music, added: in recent years and since Due to the younger generation's interest in analyzing the past of Iranian music, unfortunately, a large amount of unreliable and even incorrect narrations in this field have been recorded and published in some magazines, which will undoubtedly cause confusion and deviation for researchers in this field in the future.

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BingMag.com <b>pop</b> <b>music</b> <b>through</b> the <b>lens</b> of <b>literature;</b> To <b>believe,</b> <b>there</b> <b>might</b> be a <b>place,</b> maybe...

The reason for this issue is institutionalized neglect And the devaluation of artistic research work has practically reduced works of art, especially musical works, from the level of a work of art to the level of a consumer product. Being aware of such inadequacies in the writing of this book, it has been tried to make each of the narrations and analyzes based on documents or The direct statements of well-known figures in this field should be based and each of the statements should be matched with other available sources. A complete collection should also be collected about this late composer in order to help the audience to know more about Varujan's mental and artistic world. In this regard, a large amount of unseen documents and photos, complete tables of all Varujan's musical works and several other parts have been attached to the author's text, which will naturally be attractive to the audience of this field.

The cover design of this The work published by Rushdieh Publishing House is the work of Farshid Moghali, an artist in the field of visual arts.

... a conversation began with Varujan's closest friends and companions. They didn't have anything to say or say about themselves, they got up and answered with Varujan's name respectfully.. All parties of the conversation unconditionally considered him kind, loving, friendly, lovable, knowledgeable, humble and pure. Each sentence of the answers started with a sentence of praise of Varujan and ended with an expression of interest in him. In the text of this book, many of these words and phrases and romantic and sincere praises were removed to show more of his history and works. I hope you will hear the voice of this public love while reading these stories...

According to Hossein Asaran: "Esfandiar Monfared gave birth to greatness and friendship until Babak Afshar and Shahyar Ghanbari put me first. From their talks, the process of the book became more accurate. Each conversation specified the address of the next conversation. Some of the owners of the names, who had crawled into a corner in these years and did not have the heart to speak or speak about themselves, stood up with the name of Varujan in respect and did what I asked. The initial information gradually expanded. The rings were put together until they became a chain, and at the end, the title (description and review) could be put on it."

About Varujan's book

About Texts taken from other written sources, such as magazines and newspapers, the present text is completely adapted from the original sources and edited only in terms of punctuation and handwriting. Some cases are also included in the text, which are taken from the sounds of television and radio programs, despite creating heterogeneity in the text of the book and due to the priority of preserving the authenticity of the statements, without any change in the tone and phrases of the source's oral text, in accordance with the same conversational tone and with Retaining the verbal stops of the pauses has been rewritten.

In some parts of the book, there are pictures related to the studios in which Varojan is present, and at the end of the book, some of his works, plaques, and beautiful photos are placed. Some examples are given in the following section.

Part of the text of Varujan's book

In this conversation, Manochehar Sakhai does not provide an explanation about how he met Varujan, but somewhere He has also explained about this issue:

He (Varojan) was the first person who started arranging music in Iran, and I don't remember when he collaborated with me on the "Zangoleha" program. Many people were surprised and said: "What does orchestra tuning mean?" Attaullah Khorram was the first person who introduced Varujan to "Radio Iran" by preparing the program "Color Album" and made this figure start his activity in a wider field.

Another section

Varuzhan's last work in 1354 was the creation of the soundtrack for the movie "Honeymoon", the music of which was formed according to the routine of the two previous Nowruz movies "Sierra Film" based on the creation of two songs for Gogoosh's voice. . The collaboration of Varujan and Iraj Jannati Atai in this film led to the creation of two popular songs "Mahe Pishuni" and "Pol", where variations of the two songs were also performed as soundtrack pieces and placed on the film.

A few points that can be seen in Varujan's book:

  • In writing the text of the book, the primary principle is to preserve the originality of the sources. Is respected. The interviews conducted with artists, artists and art practitioners, in terms of the meaning, tone and meaning of the phrases, were written absolutely in accordance with their originals and were only grammatically edited. The words "melody maker" and "music maker" which according to the author of the book have two different meanings have been used correctly.
  • Compilation of the list of pieces made by Varujan, which has been tried to make an accurate list of his works based on date and The time of making them should be available.
  • At the end of the book, there are pictures of Varujan's memory, which adds to the beauty of this book.

The author of the book Varujan He believes that this book is one of the basic needs of music researchers. Hossein Asaran said at the unveiling ceremony of Varujan's book: This book is the fruit of all my love for music and I wanted it to be unveiled in the city where I heard the first sounds and listened to the first music. I prioritized this book because I am a serious researcher of music and have been working in this field for a long time. formed in my mind. The days with My father and I used to go to the cinema and in every cinema there were tape stalls, and I loved those small stalls more than anything, and actually the song was an important part of my life.

This music researcher said that the book Varujan is the result of two and a half years of my research and efforts, he added: "In the final days of the page layout of the book Baran Eshgh, I started researching Varujan to show the role of Varujan and his great influence in Iranian pop music and songs with words." p>

Asaran said: In this regard, a list of suitable characters for the interview was prepared, and also the phishing of all music and cinema magazines was started, but there were many dumb points in the research about Varujan's character, and on the Internet, maybe more than two pages about Varuzhan there was no information. Naturally, this book has other versions and Varujan is a research work. Research work in our society has problems due to the lack of accurate sources. Therefore, I ask the audience to give us their correction comments. I hope that over time this book will become more complete and become an accurate reference book, and this issue will become an excuse for other artists and artists in the field of music to find a place to register a work under their name. It is based on research activity, he said: We talked to different people in this field and each conversation was checked with another source. I tried to mention all the narrations in the book in a documented and accurate way, so the form of this book is based on narration and progress throughout history. In this book, I compared all the ambiguities of Varujan's personality with other people's narratives and documents in magazines and other sources, and then the authoring work began and a relatively complete image of Varujan was created.

music and doesn't know the character of Varujan. Varujan's name and influence are known, but unfortunately the information about him was not complete. I was having a revelation in the middle of work and I went step by step with the audience and got this information. He continued: there was really no room for this book, which I was proud of, and if it was given to someone else, he would have faced this argument. During the process of Varujan's research, I came across new information that was interesting, so this research activity is a new work and will be attractive to all music lovers. However, Iranian pop music has never been treated in a proper and principled manner. This is a book that provides a detailed and accurate investigation of pop music. Also, at the beginning of each chapter of this book, attractive photos of Varujan have been printed, and in the appendix of the book, some of his manuscripts have been printed. I finished it in 4 years and my second book is Varuzhan, which was published by Rushdieh Publishing House. The cover design of this book is by Farshid Moghali, a visual arts artist. I am also writing two more books.

Asaran said: I am very happy that people have given a special welcome to this book. I expected reception, but I didn't expect it to such an extent that the first edition of this book was sold out in two days. Also, the second and third editions are on the way.

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