First Day

Opening – Seminar – Concert

Opening – Seminar – Concert

20 February 2021



Reza Korourian was born on November 5, 1971 in Tehran. He graduated from the Faculty of Art and Architecture with a Bachelor’s degree in Music. He was also a flutist, guitarist and pianist. He studied Music Theory, Harmony and basic lessons of Composition with Alireza Mashayekhi and continued studying Music Composition at university with Farid Omran and Kiawasch SahebNassagh. He then pursued his passion for composing more seriously with SahebNassagh. He completed his study of Electronic Music under the instruction of Shahrokh Khajenouri and Arvin Sedaghatkish. Korourian was one of the five participants who attended the first electronic music workshop in Iran which was held by Shahrokh Khajenouri. By 2008, he also participated in Joachim Heintz’s electronic music workshop and received conducting lessons by Manuchehr Sahbai. He presented his thesis in electronic music and spent years of his life translating reference books about electronic music and composition. His translation of Tom Holms’ article “The Most Impressive Electronic Music Pieces” was published in the 111th volume of “Art of Music” magazine.Two albums of his works have been published by “Contemporary Music Records” so far. The only official performance of his works was in “IC No.3” held by Yarava Music Group and with Khajenouri and SahebNassagh providing the speech, introducing Iranian and the world electronic music composers and presenting “In Dreams” by Korourian.A year later, “In Dreams” was introduced and performed at Hanover University of Music, Drama and Media. Reza Korourian departed this life in the morning of March 3, 2015.

Live Events

A Critical Reflection on the Material and Design of Contemporary Classical Music

In this seminar, we will critically reflect on a collection of prominent pieces, from the late 20th century to the present, which have been composed in either mixed-electronic media or influenced by electronic music. The selected works are from composers such as Fausto Romitelli, Franck Bedrossian, Bernhard Lang, Peter Ablinger, Philipp Leroux, Clara Iannotta, Simon Steen-Andersen, Mauro Lanza and Natacha Diels. These selected pieces are critically reflecting the material and structure of contemporary classical music by re-defining the relationship between the acoustic instrument, the electronic music medium and the performer. These pieces either created new structural possibilities or reiterated forgotten expressive qualities in the medium. The main goal of this seminar will be, based on the analysis of material, structure and the foundation of contemporary music, to foster critical listening and critical reflection of what music is.
Saturdays, 20, 27 Feb, 6, 13 March 2021, 17:30-19:30 Tehran Time

Pass code will be sent to registered participants.

Ashkan Behzadi is a Lecturer in Discipline at the music department of Columbia University. He has received his DMA in composition at Columbia University under the supervision of Fred Lerdahl, George Lewis and Georg Friedrich Haas. Ashkan also spent a year at the University of Chicago as a 2019-2020 postdoctoral fellow in composition at Chicago Center for Contemporary Composition (CCCC). Behzadi also received his bachelor’s degree in composition and music theory at McGill University where he studied with Chris Paul Harman, Brian Cherney, Philippe Leroux. Prior to this, he earned a bachelor's degree in architecture from Tehran University. While in Iran, he also pursued studying composition and music theory with Alireza Mashyekhi. Ashkan’s music has been performed by various ensembles such as Jack Quartet, Grossman Ensemble, Exaudi, Wet Ink, Talea Ensemble, le Nouvel Ensemble Moderne (NEM), Esprit Orchestra. He has also won number of competitions including the Graham Somer competition in Montreal and the Prix de Composition at Fontainebleau in Paris.
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Susanne Zapf and Asal Karimi

The String Instruments and Electroacoustic Music
Susanne Zapf and Asal Karimi
Live on Instagram
Saturday 20 February 2021. 22:30 Tehran Time



Daily Report

A Short Report on the Past and Upcoming Events


String Quartet No. 1 (Tubular—Mondo) (2018)

Tubular – Mondo took as a starting point the rapid sampling techniques of Footwork music, cutting and looping grains of sonic (often vocal) material, completely irreverent of phrase boundaries of the original sample, resulting in jagged, fragmented, dense textures. Taking these ideas to the string quartet world, I was interested in creating a disrupted continuity between quasi lyrical gestures and their cut-up electronic resonances. In the first movement—Tubular—all players follow and interpret a unison line according to different instructions, still leaving them with improvisational liberties within rigid temporal synchronicity. In the second movement—Mondo—the ensemble breaks apart in an attempt to performatively open the stage focus.

Laure M. Hiendl


Laure M. Hiendl (*1986, pronouns: they/them) is a composer and performer based in Berlin. Their work is situated between concert music, performance, music theater, installation and other interdisciplinary realms, employing instruments mainly in interaction with electronic means, and exploring the performativity of the space-time-body relationship in music as a live act—as a shared space in time between bodies for an event that is inherently theatrical and political.
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Annesley Black is a Canadian composer based in Frankfurt am Main. Her works span from purely instrumental music, electronics, video performance from orchestra and chamber music to theatre, solo performances and installations. She has appeared as an improviser and sound-director in Canada, Austria, Switzerland and in Germany. Her collaborations with renowned artists range from film, dance and theatre productions to multi-media art installations/ performances. While exploring an unusual breadth of innovative settings, themes and concepts, she persists in embodying these in an intricate, expressive and distinct musical language.

She has received many distinctions for her work, including the Busoni Award from the Academy of the Arts, Berlin (2008), the Kompositionspreis der Landeshauptstadt Stuttgart (2009) and the Ernst von Siemens Musikstiftung Composer Prize (2019). In 2018 she was nominated as a member of the music section of the Academy of the Arts, Berlin and the Canadian Music Centre.

Her works have been commissioned and performed by international ensembles and orchestras such as the Hessian Radio Orchestra, SWR Symphony Orchestra, Ensemble Modern, Ensemble Musikfabrik, ensemble mosaik, ensemble recherche, Ensemble contemporain de Montréal, Nouvel Ensemble Moderne de Montréal and ensemble asamisima for festivals such as the Donaueschinger Musiktage, Warshaw Autumn Festival, Wittener Days of New Chamber Music, Éclat Festival and Festival Ultima, Oslo.

Annesley Black studied electronic music and jazz guitar at Concordia University, composition with Brian Cherney, York Höller and Mathias Spahlinger, electroacoustic composition with Hans-Ulrich Humpert and Orm Finnendahl at Mcgill University, the Hochschule für Musik und Tanz Köln and Hochschule für Musik Freiburg. She teaches composition and interdisciplinary projects at the Hochschule für Musik und Darstellende Kunst Frankfurt am Main and electroacoustic composition at Dr. Hoch’s Conservatory Frankfurt.

Annesley Black

Annesley Black

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Vineta (2008)

The mythos of Vineta tells that Vineta once was a wealthy and beautiful city next to the Baltic Sea. Its habitants became so arrogant that in the end Vineta sank into the sea. As bells and a mystic atmosphere play an important role in this mythos, the sound material used are samples of cowbells and a recording of the renaissance pavan „Paradizo“ by Anthony Holborne. In the piece you can hear different states of Vineta: above the water and under the water.

Elke Swoboda


Elke Swoboda is working as a composer, video artist and music educator since many years. She creates electronic & instrumental works as well as audio-visual compositions & visualizations and works on interdisciplinary projects in the fields of dance, theater and physical theater. Elke Swoboda graduated from the Folkwang University of Arts in Essen, Germany. Her compositions are performed in Germany and at international festivals. She obtained an award from the international competition for contemporary music theatre "operare 11" from the Contemporary Opera Berlin in 2011 and an award for audio-visual composition from the Philharmonic Orchestra Duisburg in 2013.

Ehsan Ebrahimi


Ehsan Ebrahimi was born in 1980 in Mashhad (Iran). He learned to play the santoor. This was followed by training in composing with Prof. Shahin Farhat and Farhad Fakhredini. He has been studying in Germany since December 2012. In May 2017, he earned a bachelor's degree at the Hochschule for Music, Theatre and Media Hannover (Hmtmh) in the main subject "Composition" with Prof. Oliver Schneller, Prof. José María Sanchez-Verdu, Prof. Gordon Williamson , Prof. Ming Tsao and Prof. Joachim Heintz. In Novermber 2019 he completed his education with a Master's degree at the Hochschule für Musik und Kunst Bremen (HfK) with a focus on "electroacoustic composition" with Prof. Kilian Schwoon.

Ataraxy (2021)

Commissioned by Yarava Music Group – World Premiere



Ata Ebtekar aka Sote (b. Hamburg, Germany) is an electronic music composer and sound artist based in Tehran, Iran. In the past 30 plus years, his music has been published by various companies, such as Warp Rec-ords, Sub Rosa, Morphine, Repitch, Opal Tapes and Diagonal among others. Global cultural exposure through transmigration has been a significant stimulant for his aesthet-ics. Sote’s goal is to create unique and timeless pieces of music that are not available anywhere except in his mind. His compositions and multi-channel installations are sonic tales synchronously decoding and re-generating customary pattern of thought in nature; aural designs of crisis and harmony where contempo aligns with folklore, orchestrating an artificial saga with a variety of illuminations and analyses. His passion for all music especially, all forms of electronic music, and his extensive in-volvement in the sound art academia world, has led him to compose in a wide variety of musical styles with a strong emphasis in electro-acoustic techniques, microtonal systems and polyrhyth-mic motifs. He has a firm conviction that rules and formulas must be deconstructed and rethought; hence he alters musical modal codes from their original tonality and rhythm (tradition) to achieve vivid synthetic soundscapes. In order to accomplish dynamic expression on electronics, gesture and texture, he employs vari-ous synthesis languages and dsp techniques in a modular sound environment. Ata ‘Sote’ Ebtekar believes that music is a cultural habit of sound and anti-sound (silence). There-fore, he generates music without a specific culture, which he believes to be “the other sound.”


Ata 'Sote' Ebtekar

Ata 'Sote' Ebtekar

Santour: Arash Bolouri
Mastering: Nima Aghiani
Commission by Yarava Music Group
world premiere
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