Karaj Iran Music

With the United States and Iran on the brink of war, advocates of regime change are celebrating. Almost 100 of them have gathered to write to Iranian President Hassan Rouhani to protest his increasing mistreatment of the country's musicians and to express their concern about the regime's treatment of the musicians in Iran.

Conservatives have never been able to fully curb the illegal and legal music groups that emerged in the wake of the 1979 revolution and the subsequent crackdown on the country's music industry. This in turn stimulated the emergence of more mainstream musicians who had spent the past decade using their own talents to compose innovative and powerful pieces.

In short, Iranians have gone from promising a breakthrough opening to the world to one of the worst sanctions ever imposed, and in the twentieth century, Iran's history was interspersed with stories about Iran. Ata Ebtekar noted: "When Iran was fighting political repression and Tehran's notorious trade, we Iranians were all for improvisation. It was this particular expression of the state patriarchy in Iran that made Radio Khiaban the radical, everyday resistance it seems to be. Music formed a new kind of resistance to what seemed to be over: state control over the music industry and the political system.

Islamic Revolution 1979, women were forbidden to sing to a male audience, and under Ayatollah Khomeini, women were forbidden to sing as soloists to a mixed audience. Concerts and the transmission of music have been banned in the name of the Islamic Republic of Iran's religious and cultural heritage.

Since the reformers took power in Iran in 1997, pop music has returned to the path it followed before the revolution. The following musical subjects have now been added: The new curriculum classifies music as part of Iran's cultural heritage, as well as music from other countries. As approved in October 1942, participants must be trained in tar playing in order to "learn the characteristics of Iranian music."

Parviz Mahmoud assumes that "Iranian music is only a local version, permeated by short methods, writing techniques and theory," and can be taken as a basis for the education in music in high school. Meanwhile, the music apprentices are in constant conflict with their teachers. Vaziri believes that the curriculum of the music schools should not only be based on his own style, but should also include the training of Western music in order to preserve and promote Iranian music.

At the same time, he hopes that people's prejudices against Iran and the Middle East will not increase. Sophia Deboick says that music in Iran is a challenge, not only for the perception of the country by the authorities, but also for the perception of its citizens. The book Soundtrack of a Revolutionary Revolution demonstrates this, and music has become an important part of Iran's cultural heritage, as has its cultural identity. He wants to highlight his country's underground music scene as an example of what Iran itself and its citizens are capable of.

In the four decades since the 1979 revolution, music has been a channel of resistance to officially sanctioned values. The Islamic State has never behaved in Iran since 1979, but tensions are playing out in the capital Tehran.

Iranian food can be enjoyed while listening to traditional live music, and while the view is clear, Carvansaray enjoys the traditional classical privileges. Rock concerts are rarely permitted in Iran, but they have been held in the past in places like the city of Kermanshah, the capital of the Islamic Republic of Iran.

The uprising against the Shah and the security state was fueled by the music of the Green Movement, an anti-government movement in Iran. Iranian music and musicians have become so popular over the years that half the population is under 25 years old and Karaj is a multicultural city with migrants from all over Iran, which is why it is also called "Little Iran." The musicians of Iran revive their music after the winter and give the uprisings of the "Green Movement" their beat.

This is causing a lot of excitement among young music fans and critics praise the music that is made and performed in Iran. Many underground musicians have fled Iran in recent years, although they have certainly not surpassed the creation of new talent in the country.

The recent protests are evidence of the music played in the last century, and the overwhelming tone of their lament is one of anger and fear. It is the musicians in exile who reflect the protests, despite the deafening silence of the country's political leaders and government officials, as well as the public.

In the years after the end of the Iran-Iraq war, many young people sought tutoring in music as a means of self-expression. The music lessons, which were translated into Persian and French by Salar Mo'azzez, consisted of introductions to musical instruments, harmonies and orchestras. Through these pieces, which revolved around traditional Kurdish and Iranian music, Rana found her true calling.

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