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Biography |
| Farid Kheradmand
-Remaking of the styles of playing of Zarb on these records -Analyzing of the rhythmic and tonic forms of old Tasnifs of Persian music -Analyzing of method of combining of rhythm, poem and music in old Tasnifs of Persian music - Theorization of fundamentals of Persian music rhythm logy, based on its repertoire He also has learned Radif of Mirza Abdollah on Setar with Ali Bayani since 1992 in the beginning, and continued with Majid Kiani.
Artistic Activities ü Winner of Honor Diploma for researching on fundamentals of Iqae Cycles in The first Music Festival of Universities Students of Iran, Tehran, April 1998. ü Winner of Honor Diploma for researched article: “Esthetic of Cycling System in Persian Music” in The Second Music Festival of Universities Students of Iran, Tehran, March 1999 ü Teaching playing of Zarb (Tombak) in cultural – artistic centers as following: - Center of Preservation and Divulging of Persian Music 1991- 1992 - Artistic Activities Office of Culture and Islamic Guides Office of Semnan 1998 – 2000. - Artistic Activities Office of Culture and Islamic Guides Office of Garmsar 1999 - Private Teaching, 1994 until now - Editing and Graphical designer of book of Maghased ol Alhan by Abdolqader Maraghi ü Playing Zarb, Setar and singing Tasnifs with Sepehr Music Ensemble since 2005. ü Performing about 100 Concerts in and out of Iran.
Official Activities ü Regular member of Center of Preservation and Research of Persian Music (depended to IRIB), since 2000. ü Regular member of Researchers Department of Iran Music House, since 2001 till 2006. ü Artistic advisor of International Festival of Ney(Pipe). Niavaran Artistic Creations Foundation (NACF), September 2004 ü Teacher of Soureh University, Since 2005 till 2007.
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He
began to learn the music since 1984 with playing Zarb (Tombak)
and singing Tasnifs; acquaintance with Persian poem with Abbas Dabestani.
Since 1990, he learned the contemporary styles of Zarb playing
with Jamshid Mohebbi in Center of Preservation and
Divulging of Persian Music for four years. With becoming
interested on Qajar’s period Zarb players’ styles on 1993; he
started a theoretic research about the fundamentals of rhythm in
old hand script books and a practical research on old styles of
playing of Zarb based on the old remained records (records of
the years between 1900-1920). This research, which is
supervising by