Iranian Classical Music · Performance · Teaching
Setar Performer · Music Educator · Researcher in Iranian Music
I began studying Iranian classical music on the setar in 1996. My work today is grounded in around three decades of performance, more than twenty years of teaching, and research on the Iranian radif.
Around three decades of performance and more than twenty years of teaching have shaped how I understand the radif. I approach musical knowledge through careful listening, practice, and attention to the way it is transmitted from teacher to student.
Since 1996 · about 30 years
Around three decades of performance in Iranian classical music since 1996, centred on the setar and also including the tar, with a focus on the radif, improvisation, phrasing, and ensemble practice.
20+ years of teaching
More than twenty years of teaching setar, tar, radif, and repertoire, grounded in careful listening, repetition, and gradual correction between teacher and student.
M.A. thesis · 2021
For my M.A. thesis, I fully transcribed and notated every track on the album Setar Performances by Abolhasan Saba, and then analysed the performances in terms of technique, phrasing, ornamentation, and musical structure.
Dar Baharan and Ghoroub / Sunset reflect two parts of my experience in ensemble performance, artistic direction, and the recording of Iranian classical music.
2021Iranian classical music album
Dar Baharan is an Iranian classical music album jointly directed by Pouyan Khalili and Siavash Karami, performed by the Saba Setar Ensemble, with vocals by Amir Asnaashari.
Digital re-release coming soon via CD Baby
2011Iranian classical setar-ensemble recording
Ghoroub / Sunset is an album composed by Massoud Shaari and performed by the Hamsaz Ensemble under his direction. I appear on the recording as a setar performer and ensemble member.
بررسی تحلیلی بداههنوازیهای ابوالحسن صبا؛ مطالعهٔ موردی: آلبوم «سهتارنوازی ابوالحسن صبا»
For this thesis, the entire album Setar Performances by Abolhasan Saba was transcribed and notated in full. The performances were then analysed in terms of right- and left-hand technique, mezrab patterns, ornamentation, phrasing, musical structure, and the influence of singing. The material includes Dastgah-e Shur, Avaz-e Abu Ata, Avaz-e Afshari, and Dastgah-e Mahur.
The complete transcription and notation of the album made it possible to examine performance details systematically—details that notation without performance analysis, or verbal description alone, cannot fully preserve. The study established a practical basis for my continuing work on performance, transmission, and interpretation in the Iranian radif.
A selection of terms from the thesis.
A short selection of performances and ensemble work. The full photo archive and selected videos are available on the Media page.
Archival photograph.
Mahtab Ensemble in performance; source: ISNA.
Archival photograph.
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View the full archive“Performance, teaching, and close listening are the foundations of my work on the radif. Recorded examples and detailed analysis connect practical musicianship with research.”