Post-Orientalism Community Call for Collaboration
The Post-Orientalism community is proud to invite composers of any age, gender, and country from all over the world to participate in this international collaborative project.
Title
Post-Orientalism No. IV
The Cultural Sound Blocks of Humanity Vol. 1
Radif of Iranian Music
Post-Orientalism’s Second Statement
Considering the history of mankind, we must assert, in all honesty, that an infinite number of uncounted cultural sound blocks exist among which are melodies that have never been heard.
Taking account of the multiplicity of all personal methods and colorful styles, Post-Orientalism Project No. 4 invites all composers to join us in hearing, thinking, and freely using the raw materials of the sound blocks of humanity to create independent music albums.
Post-Orientalism Community Call for Collaboration
The Post-Orientalism community is proud to invite composers of any age, gender, and country from all over the world to participate in this international collaborative project.
Title
Post-Orientalism No. IV
The Cultural Sound Blocks of Humanity Vol. 1
Radif of Iranian Music
Post-Orientalism’s Second Statement
Considering the history of mankind, we must assert, in all honesty, that an infinite number of uncounted cultural sound blocks exist among which are melodies that have never been heard.
Taking account of the multiplicity of all personal methods and colorful styles, Post-Orientalism Project No. 4 invites all composers to join us in hearing, thinking, and freely using the raw materials of the sound blocks of humanity to create independent music albums.
Introduction
Post-Orientalism’s 4th interactive project will begin on May 31, 2024 by introducing two collections: Kamānche' solos by Niloofar Shahbazi and Setâr solos by Mohammad Javad Ahmadzadeh. Next, the roadmap of the 'Santur' and after that other cultural sound blocks such as Muqams of Azerbaijan, Turkey, Egypt, … will be published by Post-Orientalism Publishing.
About the Album
The most commonly cited repertoire of Iranian traditional music is 'Radif,' an old classical system with a robust structure.
Let us now turn to the discourse principles of Post-Orientalism.
Basic Concepts of Post-Orientalism Discourse
'Radif', or Music System: The collection of various compositional elements by any composer will be referred to as 'Radif' in this discourse. An example is Radif [composer].
'Dastgāh' or Set: a set is a collection of objects or groups of objects. These objects are often called the elements or members of a set. For example, groups of rhythmic, melodic, and harmonic patterns and their subsets or relative sets as well as musical tones, pure tones, noise, or any acoustic or electronic sound.
'gousheh' or melodic units: the intangible cultural sound blocks of humanity. This classification, which was temporarily placed into seven subgroups in the initial presentation, was hypothetical. Please remember that in the first and most straightforward presentation n equals 33 and we take n! as our point of departure.
Let us now examine the sets and objects of each.
The set order of 'Kamānche' solo is as follows:
Set A = {a0, a1, a2, a3, a4}
Set B = {b0, b1, b2, b3, b4}
Set C = {c0, c1, c2, c3, c4}
Set D = {d0, d1, d2, d3, d4}
Set E = {e0, e1, e2, e3, e4}
Set F = {f0, f1, f2, f3, f4}
Set G = {g0, g1, g2}
The set order of the 'Setâr' collection is as follows:
Set A = {a0, a1, a2, a3, a4, a5, a6, a7}
Set B = {b0, b1, b2, b3}
Set C = {c0, c1, c2, c3}
Set D = {d0, d1, d2, d3, d4}
Set E = {e0, e1, e2, e3}
Set F = {f0, f1, f2, f3}
Set G = {g0, g1, g2, g3, g4, g5}
Set H = {h0, h1, h2, h3, h4, h5}
Set I = {i0, i1, i2, i3, i4, i5, i6}
Set J = {j0, j1, j2, j3, j4}
Set K = {k0, k1, k2, k3, k4, k5}
Set L= {l0, l1, l2, l3, l4, l5, l6, l7, l8}
Important Note:
Post-Orientalism as a publisher will present its own reference albums according to the common traditions of arraying any type of intangible cultural heritage. We are fully aware that there exists an infinite number of sets within our proposed sets (collections). Each composer is completely free to design, develop, and/or combine his or her own sets. We would warmly welcome all contributions/ideas from composers–employing any compositional style or technique.
Basic information about the tuning and recording of 'Kamānche' and 'Setâr' solos
Information on the raw recorded materials for the first album, which serves as a reference for any future works in the series. Please mind that the limitations introduced in the primary record do not necessarily apply to the creative processes of any future project results:
The tuning used in this album was A = 432.
The recordings were made as a single channel (mono) in a 16-bit, 48-kHz WAV format.
The recording of the Kamanche will be mono whereas the recording of the Se-tar will be stereo.
No conscious edits or effects were applied for the making of this album
General Guidelines:
In this section a number of general guidelines are put forward. Should you have any suggestions, queries, or technical concerns, don’t hesitate to send us a message via email. We will heartily answer your queries at our earliest convenience.
Composer's guide
1. In this project, we welcome contributions from all composers working with electronic, experimental, rock, post-orientalism, electroacoustic, noise, harsh noise, field recording, xenharmonic, and microtonal sounds.
2. We openly welcome any creative choice of sets and collections and their combinations, or even the creation of relative or non-relative sets. Composers and contributors to the project will have complete freedom of thought and expression in exploring the sets and collections without any technical or esthetical limitation.
3. Each composer can present multiple independent albums.
4. This project is designed as open source and will not be subject to deadlines.
5. In the selection of works priority goes to: 1. non-Iranian composers; 2. Iranian composers, especially those who do not master Iranian musical instruments.
Contract Method
Let us clearly state that in Post-Orientalism publishing we value honesty and transparency. Post-Orientalism publishing was founded by Ehsan Saboohi (composer) based on the need to effectively communicate and interact with composers. Our vision is to present works that cannot be disseminated otherwise at the monstrous, capitalist market.
Our contracts are very flexible and negotiable so that the composers will gain the “most” benefit and satisfaction.
The post orientalism label identifies itself as decentralised, unprofitable, and non-governmental. In addition, tax laws are transparent.
1. Our mission is to sponsor the albums. Musicians do not have specific financial contracts for these projects. We pay 70% of album sales directly to musicians’ accounts.
A download code will be provided for composers who participated in our previous projects and to other prominent composers.
2. The remaining 30% of album income will cover the costs of graphic design, domain, etc.
3. All intellectual rights and royalties of the created albums belong to the creator of the new album. Creators in this context could mean composers, performers, improvisers, etc.
Creators should mention the usage of the samples, i.e., the sound blocks provided by Post Orientalism and Noise à Noise, when registering their works in any of the performance rights organisations (PRO).
4. We have a limited capacity to accept artists on both labels, and we need income to increase the number of artists, which is completely in the artists' interest. Note that being a label artist does not impose restrictions. However, there are many possibilities. Therefore, we suggest reading more information on this subject on the Bandcamp platform.
5. All works will be published by one of the two aforementioned labels. (Post Orientalism and Noise à Noise)
6. The composers will be granted exclusive rights to their original works. Post-Orientalism only charges 30% of the retail price on Bandcamp. The composers will be granted permission to work with any other publisher to publish their album on other platforms.
7. Creators also can donate their income (70%) from their sales to the label. In case of this decision, an official email mentioning the album's title should be sent to both Post Orientalism and Noise à Noise.
Important note:
this project and its evolved ideas will be developed by a council of professional composers in various parts of the world.
Their names, biographies, and works are to be announced each week.
The road map and goals of the post orientalism label will be defined in consultation with the owners (here they are stated as composers).
Post Orientalism label
Noise à Noise label
Post-Orientalism Music Community
contact us:
https://postorientalism.bandcamp.com/
https://noise-a-noise.bandcamp.com/
Postorientalism@gmail.com
noiseannoysrecords@gmail.com
[List of composers]
1. Niloufar Shahbazi 2. Spectro Duo 3. Nik Masoo 4. Ehsan Saboohi 5. Idin Samimi Mofakham 6. Soheil Soheili 7. M. Javad Ahmadzadeh 8. Dave Seidel 9. Martyna Kosecka 10. Chem XP 11. Kian Hossein 12. Abtin Golfam (T-Noll) 13. Claude & Ola 14. Ali Balighi 15. Ali Mohajer (Owrang) 16. Mohsen Tehrani (Saturn Cube) 17. Mohammad Sahebzamani 18. Galo Durán 19. Solmaz PashaQelich 20. RDKPL 21. Puppetwin Duo 22. Rahi Sinaki 23. Soheil Soheili 24. Soheil Shirangi 25. Luiz Ser Eu and Numia 26. Rouzbeh Rafie 27. Bruce Hamilton
Artist’s Biography | 01- Niloufar Shabazi
Niloufar Shabazi Is An Iranian Kamānche Player Born In 1995. She Started Her Musical Journey Attending To The Tehran Music School And Graduated With A Diploma In Music. She Stepped Into Professional Activities When She Was Eighteen Years Old, Performing With Several Ensembles. During All These Years, She Has Had The Privilege Of Joining Artists And Musicians In Their Tours, Both Internationally And Within Iran.
Niloufar Graduated From The Art And Architecture (Islamic Azad University Of Tehran) With A Bachelor Of Music In Performance. She Has Participated In Several Festivals And Recording Projects. Her Artistic Aim Is To Make Iranian Music Known Around The World. For Years, Her Concentration Used To Be On Persian Traditional Music And Enjoys Blending Traditional Sounds With Contemporary Influences.
In Addition, She Graduated From University Of Tehran, College Of Fine Arts, With A Master Degree In Music Composition. During The Past Few Years,
Modern Contemporary Music Has Also Become One Of Her Main Areas Of Interest, Leading To Several Projects And Compositions Merging Electronic Sounds Into Kamānche.
Artist’s Biography | 02- M. Javad Ahmadzadeh
Mohammad Javad Ahmadzadeh is a Composer and a player of Setar instrument. He has received his Master degree for music performance (instrumentalist) from the University of Tehran. He has learned playing Setar with Hossein Vali, Masoud Shoari, Behdad Babaie, Majid Kiani, Ehsan Emami, Dariush Talaie, Mohammad Reza Shirmohammad, Babak Rahati. He has also studied composition with Ehsan Saboohi, Vahid Sarshar, Hossein Ghanbari, Mehrad Ghaffari, Mohammadreza Taffazoli, Sara Abazari.
Among his achievements and awards we can mention him being the selected artist in the five successive editions of Javan Music Festival (8th-12 Edition), publication of the ‘Uproaring of shadows’ album as the composer and the player of Setar on Sheed Records label.
