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Impetus is a four-movement work for string quartet, composed on June 12, 2011 as my master’s thesis. The composition brings together a number of the compositional techniques and ideas, treating specific performance conditions as active elements of the musical structure. One particularly distinctive decision is the exclusive use of forte dynamics throughout the work. Rather than leaving dynamics as a conventional expressive parameter, this limitation deliberately shapes the performers’ relationship with their instruments and encourages a particular, forceful manner of sound production.
This approach reflects my broader understanding of composition as an interaction among materials, process, performer, and performance conditions. The restriction itself becomes a compositional material through which the identity of the work is established. It also relates to Clearnessism in the sense that an important compositional decision is made perceptible through the way the musical materials are organized and performed.
Classical Music, A Return to the Past!
Those Days can be described as approaching something reminiscent of Mozart while remaining somewhat more modern. Rather than attempting to reproduce historical Classicism literally, the work imagines a hypothetical journey through time: if I were in the past, how could I write music? The historical style therefore becomes a material for contemporary creative reinterpretation.
This approach corresponds closely with my postmodern understanding of innovation as the creation of new relationships among existing materials, rather than the simple rejection of the past. Those Days treats historical musical language as something that can acquire a new identity through a different compositional context. In this sense, the work also relates to Clearnessism, insofar as the recognizable characteristics of its selected musical language remain sufficiently perceptible for the listener to follow the relationship between the historical reference and its new realization.
It is a postmodern composition for oboe, clarinet, two violins, cello, and piano, composed between August 7, 2014 and June 9, 2022. Its starting point is “Greensleeves,” the sixteenth-century English folk song that I remember hearing during my childhood as a cartoon music. The work therefore begins with an existing musical idea whose identity is already established through historical and personal memory, and transforms it into a new ensemble composition.
The work illustrates my understanding of musical materials as something whose identity can be preserved while its relationships and context are transformed. This is consistent with my broader postmodern approach, in which historical materials are not simply reproduced but reconsidered through new structures: the source material remains a meaningful point of reference while the compositional process gives it a different musical identity. The accompanying visual presentation of the works by photographer Shima Naderi in the video Upward further extends this process of transformation across artistic media.
I Siyah Chumeh.wmv2 Guilanian Pop Melodies
2 Guilanian Pop Melodies
A pair of compositions based on two Guilanian popular melodies, It is written for flute, oboe, and clarinet and performed by Pedram Marefatkhah, Mostafa Golshan Masuleh, and Vahid Momeni. The works engage directly with the musical culture of Guilan and Rasht, where I live and work. Rather than treating folk material simply as a representation of regional identity, I approach it as musical material that can be reorganized within a personal compositional language.
This approach connects with my concept of musical identity and the view that existing materials can acquire new meanings through transformation and new relationships. In relation to Clearnessism, the recognizable identity of the source material provides a point of perceptual reference, while its transformation makes the compositional treatment and the relationship between inherited material and new musical context more apparent.
Wormhole.wmvA Travel in the Time through the Wormhole!
Wormhole is a work for string quartet and represents one of my early explorations of the compositional concept of Permanent Enharmonic. Conceived as a metaphorical journey through time, the title connects the musical work with the idea of moving between different temporal conditions. Rather than treating harmonic identity as fixed, the work explores the possibility of continuously reinterpreting harmonic relationships, an approach that became more fully developed in my later works.
In this sense, Wormhole reflects the broader understanding of musical concepts as evolving rather than permanently defined. The work also anticipates my postmodern interest in transforming established musical materials through new relationships.
Zurvan.wmvNeoclassic Music, A Return to the Past!
A composition for string quartet, its title refers to Zurvan, the ancient Iranian deity associated with time, providing a conceptual connection between the historical musical language of Neoclassicism and the broader question of temporal experience. The work’s character is particularly evident in the canon-like interaction of the instruments and their combination within the quartet.
Zurvan exemplifies my approach to historical styles as materials for contemporary composition rather than as fixed models to be reproduced. By returning to an earlier musical language, I explore how its recognizable structures can acquire a new identity in a different context. This also corresponds with Clearnessism, where the identity and relationships of musical materials remain perceptible and contribute to the listener’s understanding of the compositional structure.
Fugue in c.wmvA Return to the Past!
Fugue in c, composed on February 7, 2008, is a work conceived in the language of Baroque music. It deliberately engages with the historical identity of the fugue, allowing the composer to explore the contrapuntal principles associated with Baroque composition from within that musical language.
The work reflects my broader interest in asking how a composer might work within another historical condition. Its clear contrapuntal organization also resonates with the central concern of Clearnessism: making the relationships among musical materials and the processes through which they are organized perceptible to the listener.
It is a composition for guitar and string quartet based on a formal combination of two historical principles: the fugue-like character of the refrain and the repetition-based structure of the rondo. The work divides its musical functions between the instruments: the string quartet generally presents the refrain, while the guitar takes the episodes or contrasting themes. These two units repeatedly encounter one another, creating a structural relationship between repetition, contrast, and instrumental identity.
This approach reflects the broader interest in reconsidering established musical concepts through new relationships rather than treating historical forms as fixed models. The distinction between the quartet and guitar also makes the organization of the musical materials perceptible, relating to Clearnessism and its emphasis on revealing relationships among materials and their processes. The form therefore becomes more than a combination of fugue and rondo: it provides a clear framework through which contrasting instrumental materials can interact and achieve an aesthetic balance.
It is a three-movement composition written for the same trio of Guilanian performers involved in 2 Guilanian Pop Melodies. The work continues my engagement with instrumental relationships and with the musical environment of Guilan and Rasht. Its third movement presents another version of the first tempo of Eternal Feel for string orchestra, creating a direct relationship between two different instrumental contexts and demonstrating how an existing musical idea can acquire another realization.
This transformation of material corresponds with my broader conception of the musical idea as an identifiable entity capable of changing through context. Rather than treating a musical idea as inseparable from its original instrumentation, the work explores its potential for reinterpretation. In this respect, Trio Golshan also relates to Clearnessism, since the identity of the material and its transformation remain important parts of the listener’s experience.
A Return to the Past!
Repeat is a composition for sextet of two flutes and string quartet. The work takes the fundamental characteristic of minimalist music, repetition, as its starting point, exploring how repeated musical material can become the basis of a compositional structure. Repetition here is therefore not simply a recurring event but a principle through which musical identity and continuity are established.
The work connects with my broader interest in discovering new possibilities within established musical concepts. By selecting repetition as a central compositional material, Repeat examines how a relatively defined process can generate formal development and changing relationships among musical elements. This also resonates with Clearnessism, particularly its emphasis on allowing the listener to perceive how selected materials return, interact, and contribute to the formation of the musical structure.
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