The Iranian-French composer Alireza Farhang comes from a family of musicians and began studying music with his father at the age of six. He went on to study the piano under Emmanuel Melikaslanian and Raphael Minaskanian, as well as composition with Alireza Machayeki at the University of Tehran. After successfully completing his university studies, he taught at the University of Tehran and founded his own music school. In 2002, he decided to pursue further studies in composition under Michel Merlet at the École Normale de Musique de Paris. He won the Albert Roussel scholarship, and obtained superior diplomas in composition and orchestration. Alireza persued his studies at the CNR de Strasbourg (class of Ivan Fedele) and had the opportunity to work with Brice Pauset and Joshua Fineberg, Toshio Hosokawa, Hans Peter Kyburz, Olga Neuwirth, Kaija Saariaho and Gérard Pesson, as well as with Tristan Murail, Michael Jarrell and Yan Maresz. He was subsequently accepted to read Musical Composition and Technologies as part of a new European Course (ECMCT) jointly developed by IRCAM, and the Technische Universität, Universität der Künst and Hochshule für Musik Hanns Eisler in Berlin. Traditional Persian music has strongly influenced his work. His training in Western and Persian music has enabled him to combine these two musical worlds. The question of cultural hybridity and the problem of incompatibility between traditional and modern values are a focus of his compositional research. Founder of the Musica Ficta Composition Contest, he also manages A-C-I-M-C (Association for Iranian Composers of Contemporary Music), as well as Resonanta, which consists of composers and musicologists.
2017.18 Artistic Research Residency
This project aims to formalise a technique tailored for score-creation in the context of music-based interdisciplinary works. In multidisciplinary works the significance of communication between artists, from the different artistic disciplines led me to think about the conception of a hybrid universal high-level score. This new paradigm should allow us to transmit the intentions and the ideas of a composer to choreographers, set designers and other artists involved in the dramatic, performing, visual or digital arts. This hybrid score consists of a notation of gestures (graphic notation), as well as a data stream score (the subject of this residency) that provides real-time data stream as a source of formalized sound and gestural information. The data stream score should be able to convert the audio signal from the music that is being performed by the performers, as well as their physical movements (gestures) into data. In this project, our attention will be focused on defining the relevant semiological parameters, which is at the heart of the problematic of this research.