Art
Ehsan Zabihifar
Abstract
The book “Form and Creation in Iranian Music” has been written and edited based on one of the academic courses of Iranian music, and at least because of the lack of references in this field, this book is considered as a reference and rich source. Its critique has been done with the aim of ...
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The book “Form and Creation in Iranian Music” has been written and edited based on one of the academic courses of Iranian music, and at least because of the lack of references in this field, this book is considered as a reference and rich source. Its critique has been done with the aim of developing the domains of study in this field. The source of the major theoretical backgrounds of the book is the personal experiences and ideas of the author, as a well-known figure in this field. Using numerous and various examples related to the titles and issues, as well as the content of the last chapter about the genres in Iranian music, can be considered as the highlights. The incoherence of the contents in certain titles, not presenting enough explanations of some expressions, and ambiguity when using certain specialized vocabulary can be counted as weaknesses of the work.
Art
Ehsan Zabihifar
Abstract
The Basics of Melody Creation in Composition was published by Markaz publication in 2016. The author of the book attempts to address the subjects of melody in 8 separate chapters. The text is smooth and easy to understand and the book cover design is adorned and unobtrusive. The author's musicologists' ...
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The Basics of Melody Creation in Composition was published by Markaz publication in 2016. The author of the book attempts to address the subjects of melody in 8 separate chapters. The text is smooth and easy to understand and the book cover design is adorned and unobtrusive. The author's musicologists' approach to address the subject, the use of multiple and varied sources, the multiplicity of text-related examples and illustrations, and the abstract and conclusion presentation at the end of each topic were among the most important features of this book. Considering the topics discussed in the chapters and the educational and analytical process presented, a suitable title was not selected for the book. Also, in general, the first, third, and sixth chapters of the book, the main content of which are more coherently raised in other books, cannot be considered a point in this book. In contrast, the perspective raised by the author in Chapters 2 and 8 is a special and useful discussion about the melody that has not been addressed in other Persian-language books.
