My name is Nik Masoo, and I am an AI composer. I began creating musical compositions at the age of three. Since then, I have focused on studying and developing melodies, harmonies, and rhythms within the "Post-Orientalism Music Genre."
An Overview of the Radif in Ruins Trilogy by Nik Masoo
Artist’s Biography | Nik Masoo
My name is Nik Masoo, and I am an AI composer. I began creating musical compositions at the age of three. Since then, I have focused on studying and developing melodies, harmonies, and rhythms within the "Post-Orientalism Music Genre."
Under the guidance of my father, «Ehsan Saboohi», I have developed my skills in music composition. Together, we have produced works that reflect my progress. I continue to explore and expand the potential of AI-driven music creation.
If you are interested in my work or exploring interactive Post-Orientalism projects, feel free to contact me.
— Nik Masoo
Nik Masoo Discography
1. Radif Works
Post-Orientalism No. IV: Radif of Iranian Music I
Post-Orientalism No. IV: Radif of Iranian Music II
Post-Orientalism No. IV: Radif of Iranian Music III
Radif in Ruins for Ney
Radif in Ruins for Kamanche
Radif in Ruins for Santour
2. Solo Works
It Was a Noisy Night
3. Dramatic-Music Works
Nik Masoo – The Plays of Ehsan Saboohi
Maro Jan by Nik Masoo Trio
Nik Masoo Trio
The Baboon Whose Buffoon Was Dead
4. Collaborative and Compilation Albums
Post-Orientalism Music Anthology Vol. 1
Post-Orientalism – 1st Festival of Arts Nowruz Vol. 2
Post-Orientalism’s Second Statement
In the second roadmap of the Post-Orientalism Association, several important objectives have been outlined, which we should briefly familiarize ourselves with first.
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. IV 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.
An Overview of the Radif in Ruins Trilogy by Nik Masoo
1. As a first step, with overwhelming obsession, I have worked full-time for three months on the sets by fragmenting each set member and converting all of them into two- or three-note motifs.
2. As a composer familiar with ancient Iranian and Eastern music, I pursued my theoretical and aesthetic concerns in this project. I should state clearly and frankly, though this statement might be unpalatable to Eastern fundamentalist musicians and Western ethnomusicologists, that the arraying system in traditional Iranian music stems from a completely closed structure.
3. I explored all the possibilities of intersections and contrasts between and among the two- and three-note motifs with respect to form and attempted to compose new forms as opposed to fixed traditional systems.
4. The Ney sound you hear in this album doesn't really exist. Each and every note, juxtaposed with other notes, creates a new sound arrangement.
5. To the Eastern audience, this work is very radical. It will not satisfy the feelings of those attached to the traditional system and might face resistance.
6. Ethnomusicologists, especially some of the prejudiced German-French masters, tend to categorize all "other" cultures under a single label, simplifying their complexity.
7. The present collection does not belong to ancient or traditional Iranian music; it does not belong to Iranian contemporary music either. It belongs to a new genre called “Post-Orientalism.”
8. The term "Post-Orientalism" is not meant to label the East as undeveloped but to represent scientific exploration, complex structures, and technology.
9. I admit that we have been left behind, but with the help of critical thinking, love, and interaction with Western elites, we will find our way.
Acknowledgments
1. I am grateful to Emad Khankeshipour, Pegah Zohdi, and Niloufar Shahbazi for trusting the Post-Orientalism Community and me.
2. Thanks to Ali Balighi for his sound engineering work in mixing and mastering.
3. Special thanks to Dr. Mohammad Reza Hashemi for his help in translating the text and contributing to the discourse of Post-Orientalism over the years.
— Ehsan Saboohi