Embedded Files
About Me & My Compositions
About Me & My Compositions
I am an Iranian composer, guitarist, improviser, and music educator based in Rasht, Iran. I teach at University of Guilan and my artistic and research activities focus on composition, sound exploration, technology, and musical perception.
I am an Iranian composer, guitarist, improviser, and music educator based in Rasht, Iran. I teach at University of Guilan and my artistic and research activities focus on composition, sound exploration, technology, and musical perception.
My compositions explore the relationships between musical ideas, sound materials, compositional processes, and listening experiences. Working across different approaches, some of my works engage with postmodern perspectives, while others, under the subtitle A Return to the Past, investigate historical musical traditions from the Middle Ages to Neoclassicism through contemporary reinterpretation.
My compositions explore the relationships between musical ideas, sound materials, compositional processes, and listening experiences. Working across different approaches, some of my works engage with postmodern perspectives, while others, under the subtitle A Return to the Past, investigate historical musical traditions from the Middle Ages to Neoclassicism through contemporary reinterpretation.
A central aspect of my compositional practice is Clearnessism, a conceptual framework that explores how musical structures, materials, and creative processes can become perceptible experiences for listeners. Through this approach, sound, silence, technique, performance conditions, and technology are considered as interconnected elements of the compositional process.
A central aspect of my compositional practice is Clearnessism, a conceptual framework that explores how musical structures, materials, and creative processes can become perceptible experiences for listeners. Through this approach, sound, silence, technique, performance conditions, and technology are considered as interconnected elements of the compositional process.
Many of my works are presented through scores and recordings, including concert performances, studio productions, and electronic realizations created by software environments. In some compositions, particularly those for guitar, I also perform the works myself as a guitarist and improviser.
Many of my works are presented through scores and recordings, including concert performances, studio productions, and electronic realizations created by software environments. In some compositions, particularly those for guitar, I also perform the works myself as a guitarist and improviser.
Selected Works
Selected Works
Khafeghoon (Suffocating)
Khafeghoon (Suffocating)
It is a postmodern and conceptual composition completed on December 2, 2022. Khafeghoon is created through a dialogue between Thomas Wilfred’s visual music work Lumia Op. 161 and the my own musical interpretation. The composition is realized using Pure Data, a visual programming environment.
Khafeghoon is based on frequencies between 1 and 16 Hz, together with some upper harmonics that exist near the threshold of human hearing and may only be perceived with difficulty. By focusing on these extreme sonic regions, the work explores the boundary between physical vibration, sound perception, and musical experience.
Rather than considering sound only as an audible object, Khafeghoon expands the concept of musical materials toward the processes through which sound becomes perceptible. The work examines the relationship between the physical existence of sound and the listener’s ability to experience it, revealing hidden dimensions of sonic reality that are often outside ordinary musical attention.
This approach is closely related to the principles of Clearnessism, where the purpose is not merely to present familiar musical materials, but to reveal relationships that may remain hidden. Through electronic processes and sound exploration, the composition transforms an almost imperceptible phenomenon into a meaningful musical experience and expands the boundaries of what can become a musical idea.
It is a postmodern composition for string orchestra, composed between July 30, 2010 and August 20, 2022. The work explores an expressionistic musical language through a conceptual dialogue with Francisco Goya’s paintings and his broader artistic approach toward revealing social contradictions.
Goya’s works are significant for their direct and powerful representation of complex human conditions. For me, Goya represents an artist who observes reality with clarity and exposes the paradoxes within society. This relationship between observation, revelation, and artistic expression becomes the conceptual foundation of the composition.
In Lucifer, Angel of Music, Lucifer is not treated only as a religious or mythological figure, but as a symbol of contradiction, transformation, and the coexistence of opposing forces. The title suggests a tension between light and darkness, beauty and disturbance, creation and destruction. Through expressionistic musical language, these contradictions are transformed into a sonic experience.
The work reflects the broader principles of Clearnessism by exploring how artistic meaning can emerge through the revelation of relationships between different elements. Similar to Goya’s visual language, the composition seeks to make conceptual conflicts perceptible through sound. Rather than illustrating paintings in the video Downward, Lucifer, Angel of Music reinterprets its underlying ideas and transforms them into an independent musical structure.
The Main Sounds.pdfThe Main Sounds
The Main Sounds
It is a postmodern and conceptual composition for an obsolete setar, composed between June 5, 2022 and July 31, 2025. The work explores the hidden possibilities of an Iranian traditional instrument and the Identity of the instrument itself becomes part of the compositional idea.
Rather than searching for an ideal or standardized instrument, the composition embraces the specific physical conditions and unique sonic characteristics of an existing instrument that is obsolete. In this sense, the work relates to the principles of Clearnessism by revealing the connection between the selected material, the techniques developed from it, and the resulting musical structure, allowing the characteristics of the sound source to remain perceptible within the listening experience.
The long process of completing the composition created a particular relationship between memory, time, technique, and sound production. During this period, some early techniques developed in the initial stages became partially unfamiliar to me! However, this distance between past decisions and present realization became integrated into the conceptual structure of the work through Controlled Random Event, where unpredictable elements emerge within a designed framework.
The Main Sounds investigates how musical ideas can be discovered through the interaction between composer, instrument, performer, and environment. The work represents an exploration of how clarity can emerge from uncertainty and how new musical identities can develop from unexpected relationships between material and process.
Lost Lovers
Lost Lovers
It is a conceptual composition completed on October 25, 2023, written for a large symphony orchestra. The work explores the concept of love through the philosophical relationship between being and non-being, presence and absence, memory and disappearance.
The title refers to the historical discovery known as the Hasanlu Lovers, an archaeological image that has become a symbol of human connection preserved beyond historical time. Rather than treating love as a purely emotional subject, the composition approaches it as a complex condition of human existence, shaped by the tension between what remains and what is lost.
A listener described the work as “a negligible satisfaction of tasting love in depth of grief with bitter flavor of losing love.” This interpretation reflects the central paradox of the composition: the simultaneous presence of affection and sorrow, existence and absence. The musical structure transforms this conceptual tension into a sonic experience in which contrasting elements gradually reveal their relationships.
From the perspective of Clearnessism, the work does not attempt to represent love through a single musical symbol. Instead, meaning emerges through the interaction and transformation of musical ideas. Different materials gain identity through their relationships with one another, allowing the listener to perceive the development of the underlying concept through the evolution of the musical structure.
Robo-Improvisor
Robo-Improvisor
Composed on February 2, 2022, it is an interactive work conceived as an improvising robot that responds to the performer’s activity through a mouse-based instrument. The work shifts the conventional relationship between performer and instrument: instead of the performer simply producing predetermined sounds, the computer becomes an active participant whose musical behavior is shaped by the performer’s input. Its realization through Pure Data makes the software environment part of the musical system itself.
The interaction between human action and computational response creates a field in which the final sonic result is neither completely predetermined nor completely random. In this respect, Robo-Improvisor can be related to Controlled Random Event and to Clearnessism, particularly through the perceptible relationship between the performer’s action, the computational process, and the resulting sound.
To experience the work, install Pure Data (Purr Data), download and unzip the Robo-Improvisor.zip package, and run Patch 1 or Patch 2 directly. Enjoy!
Canon in 4, Version II.wmv4 Ideas for n-1 Pieces!
Canon in 4 is a serial composition for string quartet, composed on January 4, 2009. The work is organized through four series corresponding to tone, cell, figure, and dynamics, extending the musical idea from a melodic or motivic element to different levels of musical organization. The formal mechanism is particularly connected to the selection and placement of silences, determined through the composer’s aesthetic decisions. This characteristic introduces an element of uncertainty into the relationship between compositional system and musical result, anticipating Controlled Random Event.
In Canon in 4, serialism and canon operate through two complementary dimensions of organization. Serialism primarily determines the succession and transformation of the musical materials along the horizontal axis of time, while the canon governs their simultaneous relationship along the vertical axis. Through this interaction, the composer establishes a distinct identity for the musical lines and their materials, making the structural relationships between them an audible aspect of the work. Thus, clarity does not depend on simplicity, but on the perceptibility of the compositional relationships.
Page updated
Google Sites
Report abuse