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| Aria E. Torkanbour |
Composer and musicologist Aria Torkanbouri discusses how the art of music in Iranian Azerbaijan is experiencing assimilation from two directions. In an interview with VOA, he shared insights about his work and the state of music in Iran.
“Composition and piano are my artistic and practical focuses. Alongside them, I conduct research in musicology and music theory,” said Torkanbouri.
The creator of the Qarabağ, Tabriz, and Tractor anthems recounted: “The first anthem I wrote was for the Tractor football team… In 2012, we formed the Lachin Ensemble and managed to stage what could be considered the first opera in South Azerbaijan: Majnun Talebi Nur, based on Layla and Majnun. The soloist was Nasir Atapur. Later, we performed The Sound of the Clock, a piece entirely unique to Tabriz, with Farhad Sultani as the soloist. I also wrote a novel in Persian called The Secret of Lachin, which tells the story of a girl from Tabriz named Lachin, who wants to learn music in the city. It depicts her challenges, experiences, and journey.”
Aria Torkanbouri has also won awards in international music competitions.
“I have contemporary music compositions, but I’ve always tried to maintain my connection with the people, writing works in genres such as folk songs. For example, I wrote Gashem Daglar for Ashiq Gashem Jafari and other pieces. Among these, during the Qarabağ War, I composed an anthem for Qarabağ. Recently, I wrote an anthem for Tabriz as well,” he said.
In the interview, Torkanbouri highlighted the issue of assimilation in music in Iranian Azerbaijan:
“Just as Turks in Iran are assimilated in language, they experience the same in music. Because they lack the opportunity to learn Turkish. Across the country, especially in schools and academic institutions, everything is built solely around the Persian language, leading to linguistic assimilation. In music, we face two types of assimilation: one under what is labeled as Iranian Persian music, and the other under Western music.”
According to him: “Assimilation in music is a global phenomenon, with Western music being the primary driver. The dominance of Western music has spread worldwide through universities and academic institutions. When we talk about music theory today, we’re essentially referring to Western music theory. However, nations and cultures have managed to protect themselves to some extent or carve out their own space alongside it. In Iran, Persian music is also subject to Western musical assimilation, but they’ve been able to develop their own music. For instance, we see their Tataloos, Sasi Manekens, or Homayoun Shajarians, and Hossein Alizadehs. In every genre, they have established strong schools and festivals. Even in contemporary music, they’re advancing significantly.”
The composer noted that the situation in Iranian Azerbaijan is very different: “When it comes to us, first of all, there hasn’t been such a thing as a music school here. Perhaps only recently, and even that is very limited. Secondly, within Iran, we are assimilated under Persian music established at the center, and, more significantly, under Western music. Many artists sing in Persian. Even those who sing in Turkish often produce music that, if the language were changed, would entirely reflect Western music, with nothing unique to Azerbaijan, Turks, or Eastern music. It’s also true that today’s music policies favor Persian groups in Tehran, leaving little room for ours. This is nothing new. I experienced this firsthand when trying to obtain concert permits from the Ministry of Culture and Islamic Guidance. In a month, a maximum of six concerts would be approved, five of which would go to groups from Tehran, and one to local groups.”
In the interview, Aria Torkanbouri also shared his thoughts on the state of the Ashiq art form in Iranian Azerbaijan.
Link to the original interview in Turkish on the Azerbaijani section of Voice of America:
Aria Türkanburlu: İran Azərbaycanında dildə olduğu kimi, musiqidə də assimilyasiyaya uğrayırıq