sources

Cusick, Suzanne G. “Music as Torture / Music as Weapon.” Trans, 2006, www.sibetrans.com/trans/articulo/152/music-as-torture-music-as-weapon.

Daughtry, J. Martin. “Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq.” Oxford University Press, 2015

Peskoe - Yang, Lynne. “How to Dodge the Sonic Weapon Used by Police.” Popular Mechanics, 2020, www.popularmechanics.com/military/weapons/a32892398/what-is-lrad-sonic-weapon-protests

Pieslak, Jonathan R. Sound Targets : American Soldiers and Music in the Iraq War. Indiana University Press, 2009.

Ross, Alex. “When Music Is Violence.” The New Yorker, 2016, www.newyorker.com/magazine/2016/07/04/when-music-is-violence


Playlist
https://open.spotify.com/playlist/3nowewiGBmDNhQ7rLkRc53?si=K8upmqE7TTyaFF2fhH-Ltw


Biography
ﺁﯾﺪﺍ ﺷﯿﺮﺍﺯﯼ ﻣﺘﻮﻟﺪ ﺗﻬﺮﺍﻥ، ﻓﺮﺍﮔﯿﺮﯼ ﻣﻮﺳﯿﻘﯽ ﺭﺍ ﺑﺎ ﺳﺎﺯ ﭘﯿﺎﻧﻮ ﺩﺭ ﺳﻦ ۸ ﺳﺎﻟﮕﯽ ﻧﺰﺩ ﺁﻏﺎﺯ ﮐﺮﺩ. ﻭﯼ ﺳﭙﺲ ﺑﻪ ﺁﻣﻮﺧﺘﻦ ﺳﻨﺘﻮﺭ ﭘﺮﺩﺍﺧﺖ ﻭ ﺩﺭ ﺳﺎﻝ ۱۳۸۹ ﺑﺎ ﻣﺪﺭﮎ ﮐﺎﺭﺷﻨﺎﺳﯽ ﻧﻮﺍﺯﻧﺪﮔﯽ ﭘﯿﺎﻧﻮ ﺍﺯ ﺩﺍﻧﺸﮕﺎﻩ ﻫﻨﺮ ﺗﻬﺮﺍﻥ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﯿﻞ ﺷﺪ. ﺷﯿﺮﺍﺯﯼ ﺑﺮﺍﯼ ﺗﺤﺼﯿﻞ ﺩﺭ ﺭﺷﺘﻪ ﺁﻫﻨﮕﺴﺎﺯﯼ ﺭﻩﺳﭙﺎﺭ ﺗﺮﮐﯿﻪ ﺷﺪ ﻭ ﺩﺭ ﺳﺎﻝ ۹۴ ﺗﺤﺼﯿﻼﺕ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﺑﯿﻠﮑِﻨﺖ ﭘﺎﯾﺎﻥ ﺩﺍﺩ.ﺁﺛﺎﺭ ﺁﯾﺪﺍ ﺗﻮﺳﻂ ﻧﻮﺍﺯﻧﺪﮔﺎﻥ ﻭ ﮔﺮﻭﻩﻫﺎﯼ ﻣﺘﻌﺪﺩﯼ ﺍﺯ ﺟﻤﻠﻪ ﺍﺭﮐﺴﺘﺮ ﻓﯿﻼﺭﻣﻮﻧﯿﮏ ﺭﺍﺩﯾﻮ ﻓﺮﺍﻧﺴﻪ،International Contemporary Ensemble،Dal Niente Ensemble،Miranda Cuckson،ﺩﺭ ﺍﯾﺮﺍﻥ، ﺍﺭﻭﭘﺎ ﻭ ﺍﻣﺮﯾﮑﺎ ﺍﺟﺮﺍ ﺷﺪﻩ.ﻭﯼ ﻫﻢﺍﮐﻨﻮﻥ ﺩﺍﻧﺸﺠﻮﯼ ﺩﻭﺭﻩ ﺩﮐﺘﺮﺍﯼ ﺁﻫﻨﮕﺴﺎﺯﯼ  ﺩﺍﻧﺸﮕﺎﻩ ﺍﯾﺎﻟﺘﯽ ﮐﺎﻟﯿﻔﺮﻧﯿﺎ ﺩﺭ Davis ﻭ ﺩﺭ ﺣﺎﻝ ﺗﮑﻤﯿﻞ ﭘﺎﯾﺎﻥﻧﺎﻣﻪ ﺧﻮﺩ ﻭ ﻫﻤﭽﻨﯿﻦ ﺗﺪﺭﯾﺲ ﺩﺭ ﺍﯾﻦ ﺩﺍﻧﺸﮕﺎﻩ ﻣﯽﺑﺎﺷﺪ. ﺍﺯ ﺍﺳﺎﺗﯿﺪ ﺁﻫﻨﮕﺴﺎﺯﯼ ﻭﯼ ﻣﯽﺗﻮﺍﻥ ﺍﺯPablo Ortiz،Mika Pelo،Kurt Rohde،ﻭ ﻫﻮﺷﯿﺎﺭ ﺧﯿﺎﻡ ﻧﺎﻡ ﺑﺮﺩ.ﺁﯾﺪﺍ ﺳﺎﺑﻘﻪ ﺷﺮﮐﺖ ﺩﺭ ﻣﺴﺘﺮﮐﻼﺱﻫﺎﯼ ﺍﺳﺎﺗﯿﺪﯼ ﻧﻈﯿﺮ Kaija Saariaho,Claus-Steffen Mahnkopf, David Robertson, Rraphael Cendo, Riccardo Piaccentini ﺭﺍ ﺩﺭ ﮐﺎﺭﻧﺎﻣﻪ ﺧﻮﺩ ﺩﺍﺭﺩ.ﺁﯾﺪﺍ ﯾﮑﯽ ﺍﺯ ﻣﻮﺳﺴﯿﻦ ﻭ ﺍﻋﻀﺎﯼ ﻫﯿﺌﺖ ﻣﺪﯾﺮﻩ ﺍﻧﺠﻤﻦ ﺁﻫﻨﮕﺴﺎﺯﺍﻥ ﺯﻥ ﺍﯾﺮﺍﻥ (IFCA) ﺍﺳﺖ.———————————ﺍﯾﻔﮑﺎ ﺩﺭ ﭘﺎﯾﯿﺰ ﺳﺎﻝ ۹۶ ﺑﺎ ﻫﺪﻑ ﮔﺮﺩﻫﻢﺁﻭﺭﺩﻥ ﺯﻧﺎﻥ ﺁﻫﻨﮕﺴﺎﺯ ﺍﯾﺮﺍﻧﯽ ﺩﺭ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ، ﻭ ﻫﻤﭽﻨﯿﻦ ﻣﻌﺮﻓﯽ، ﺍﺟﺮﺍ ﻭ ﺍﺷﺎﻋﻪ ﺁﺛﺎﺭ ﺁﻧﺎﻥ، ﻭ ﻫﻤﭽﻨﯿﻦ ﻓﺮﺍﻫﻢﺁﻭﺭﺩﻥ ﻓﺮﺻﺖ ﻫﻤﮑﺎﺭﯼ ﺁﻫﻨﮕﺴﺎﺯﺍﻥ ﺧﻮﺩ ﺑﺎ ﻫﻨﺮﻣﻨﺪﺍﻥ، ﮔﺮﻭﻩﻫﺎ، ﻭ ﻓﺴﺘﯿﻮﺍﻝﻫﺎﯼ ﺑﯿﻦﺍﻟﻤﻠﻠﯽ ﻣﻮﺳﯿﻘﯽ ﺗﻮﺳﻂ ﻧﯿﻠﻮﻓﺮ ﻧﻮﺭﺑﺨﺶ، ﺁﻧﺎﻫﯿﺘﺎ ﻋﺒﺎﺳﯽ ﻭ ﺁﯾﺪﺍ ﺷﯿﺮﺍﺯﯼ ﺗﺎﺳﯿﺲ ﺷﺪ.ﺍﻧﺠﻤﻦ ﺍﯾﻔﮑﺎ ﺗﺎ ﮐﻨﻮﻥ ﺑﻪ ﺳﻔﺎﺭﺵ ﺁﺛﺎﺭ ﺟﺪﯾﺪ ﺑﻪ ﺗﻨﯽ ﭼﻨﺪ ﺍﺯ ﺁﻫﻨﮕﺴﺎﺯﺍﻥ ﺯﻥ ﺍﯾﺮﺍﻧﯽ ﻭ ﺍﺟﺮﺍﯼ ﺁﺛﺎﺭ ﻣﺘﻌﺪﺩﯼ ﺍﺯ ﺍﻋﻀﺎﯼ ﺧﻮﺩ ﺩﺭ ﺳﻄﺢ ﺑﯿﻦﺍﻟﻤﻠﻠﯽ ﭘﺮﺩﺍﺧﺘﻪ ﻭ ﻫﻤﮑﺎﺭﯼ ﺑﺎ ﮔﺮﻭﻩﻫﺎﯾﯽ ﻧﻈﯿﺮ International Contemporary Ensemble ﺭﺍ ﺩﺭ ﮐﺎﺭﻧﺎﻣﻪ ﺧﻮﺩ ﺩﺍﺭﺩ.

ﺍﻧﺠﻤﻦ ﺍﯾﻔﮑﺎ ﭘﺬﯾﺮﺍﯼ ﺁﻫﻨﮕﺴﺎﺯﺍﻥ ﺍﯾﺮﺍﻧﯽ ﺯﻥ (ﻭ non-binary?) ﺩﺭ ﺗﻤﺎﻡ ﻧﻘﺎﻁ ﺟﻬﺎﻥ، ﺑﺪﻭﻥ ﻣﺤﺪﻭﺩﯾﺖ ﺳﻦ ﻭ ﺳﺒﮏ ﻣﻮﺳﯿﻘﯽﺳﺖ. ﻋﻀﻮﯾﺖ ﺩﺭ ﺍﯾﻔﮑﺎ ﺭﺍﯾﮕﺎﻥ ﻭ ﺍﺯ ﻃﺮﯾﻖ ﺗﻤﺎﺱ ﺑﺎ ﻭﺑﺴﺎﯾﺖ ﺭﺳﻤﯽ ifcacomposers.org، ﺍﺭﺳﺎﻝ ﺍﯾﻤﯿﻞ ﺑﻪ ﺁﺩﺭﺱ connect.ifca@gmail.com ﻭ ﯾﺎ ﺍﺭﺳﺎﻝ ﭘﯿﻐﺎﻡ ﺑﻪ ﺣﺴﺎﺏ ﻓﯿﺴﺒﻮﮎ، ﺗﻮﯾﯿﺘﺮ، ﯾﺎ ﺍﯾﻨﺴﺘﺎﮔﺮﻡ ﺍﯾﻦ ﻣﻮﺳﺴﻪ ﺍﻣﮑﺎﻥﭘﺬﯾﺮ ﻣﯽﺑﺎﺷﺪ.Facebook: https://www.facebook.com/MUSIFCAInstagram: @connect.ifca

Podium By Shahin Entezami - Episode 1 (Aida Shirazi)

Premiered and recorded by Jay Campbell in 2022.

The Embrace of the Wind and the Memories - for amplified cello and electronics

I Still Have More Questions (DEMO)

Written for and dedicated to Anssi Karttunen;
Premiered by Anssi Karttunen and UC Davis Symphony Orchestra;
Conductor: Christian Baldini;
Jackson Hall, Mondavi Center;
June 1, 2024.

Meditations on Departure draws from personal and universal experiences to explore departure, loss, and longing in five vignettes.

In this work, I have tried to give the cello a semi-human "voice" quality to narrate, sing, breathe, sigh, and simply embody the experience of departure and loss. The generally sparse texture of the orchestra provides an open space for the cello to be at the front and center of the narrative.

I. Soliloquy: The cello plays a solo part consisting of a melodic gesture which is repeated obsessively and undergoes subtle variations. The extended dynamic range, microtonal nuances, and techniques create these subtle variations and give this simple melodic gesture a dynamic character.

II. Rupture: The cello multiphonics alongside the backdrop of metallic sounds in the orchestra create an unstable and fragile soundscape that resembles breakage. Here, the inevitable rupture is a painstakingly long process that unfolds and evolves in time.

III. Stay!: This is a plea to the departee to stay. It is a dialogue between the cello and orchestra that mourns being left behind. The cello sighs, weeps, and longs with another motif, and when the cello retreats to silence, the orchestra breathes and echoes the embedded harmonic content of this motif as blocks of chords.

IV: Disappearance: In the aftermath of departure, there is a void, in which the cello trembles and stutters without any answers or resolution.

V: Shadows: This is a quiet elegy that contemplates what there is and what could have been. It is the realm of impossible possibilities. Prolonged melodic lines on the cello are shadowed by soloists in the string section, while the rest of the orchestra articulates this prolonged and gradually transforming melodic line in a chorale-like texture. At the end, shadows disappear and turn this meditation into dust.

II. Rupture

Rework/Cover of Joji's 'Will He' recorded from scratch.

Vocals and Pianos by Kevin Miranda. 
Arranged, Mixed and Produced by Kevin Miranda. 
Special Thanks to Dilip Venkateswaran. 

https://www.instagram.com/kevinmranda/

Will He - Joji (Melancholy Rework by Kevin Miranda)

مرتی عزیززاده هالیوود را می خوانَد و من فکر می کنم موسیقی را برای همین باید درست کرده باشند...
.

Recorded in Tehran, Bakara Caffe, May 2019

Morti Azizzade - Hollywood | مرتی عزیززاده - هالیوود

"روشن" 
يادبود ما براي "روشنك" عزيز 
______________
Music & Words:
Maziyar Khavajiyan

Electric Guitar:
Nima Ramezan

Sound Engineering:
Mohammadreza Asghari
(WoolWave Music)

©2020 AmooMazz, Maziyar Khavajiyan
Tehran, Iran

Singles

ROWSHAN

Maziyar Khavajiyan - ROWSHAN

Written for and premiered by Quince Ensemble as part of the Taproot New Music Festival 2020 at Ann E. Pitzer concert hall, UC Davis, January 30, 2020.
Text by Meredith Herndon

"Portrait" explores concepts, such as love, loneliness, anger, and emptiness, all of which I consider very similar as they require some sort of profound fulfillment.  While each section of the text focuses on, roughly, one concept, in its entirety, I view it as a complex portrait of a human.  In this work, each of the four voices dominate one section of the poem; hence singers interchange the role of soloist.  The accompanying voices integrate the sound and meaning of the text through word-painting and, at times, emulating the timbre of the voice of the soloist.  The overlap of the concepts across the sections allows for re-layering of the lines that result in changes in the meaning of the text and different dramatic interactions between the solo and accompaniment parts.  The inherent homogeneity and contrasts in the timbre of the voices of Quince Ensemble members became the primary inspiration and impetus for creating a visceral drama influenced by the renaissance madrigal style.

i
We take this anger and break it
like bread between us. It is stale, the crumb
stiff and dry, filling our mouths
no words can escape
ii
I name this hunger love because they grow the same way.
The vine strangles the tree to bloom each morning.
iii
After the storm last night the garden
ground grew a carpet of sticky flesh
overripe and oozing in the sun
we ignore it and each other until the smell
is so sweet and so strong we meet
in hunger between the branches
iv
A small peach, a smaller pit. I carve it
from the young flesh too hard to eat
I save it to plant, drop its closed
puckered lips into the metal bowl
ringing out in emptiness

Photo credits: 3D scan, lighting and texturing by Kiou Kalami

2020-01-30: Taproot Festival, Quince

Portrait

The first ever rough recording of THA's number one hit single "I'm Superman"

Lyrics and Vocals - Kevin Miranda 
Song by Vinith Johnson (Guitars also)

Recorded at 
David's Home Studio Inc.

I'm Superman!

براي مرگ آباد
 براي سرزمين زخمهاي كهنه
براي... ايران

‌‎ شِعر، موزیک و وُکال
مازيارخَواجيان(عموماز)
‌‌‏
گيتارآكوستيك و آواز
محمد موسوي(مودي)

بک وکال
مریم

مهندسي صدا، ميكس و مستر
‌‎ محمدرضا اصغری (ممضی)

عکس
مهرداد متجّلي

گرافیک
ایمان صفایی
______________
Music & Words:
Maziyar Khavajiyan

Acoustic Guitar:
Moody Moussavi

Back Vocal:
Maryam

Sound Engineering:
Mohammadreza Asghari
(WoolWave Music)

©2021 AmooMazz, Maziyar Khavajiyan
Tehran, Iran

Em

Kiou

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