Memorable Pieces from the 60’s TV / Melody “Agate” Not Forgotten – Mehr News Agency | Iran and world’s news
Mehr News Agency – Art Group – Alireza Saeedi: The caption function is something like the cover of a book, in which the designer tries to inform the audience of a work by choosing elements, forms and layouts with the help of graphics and music. Situations that are sometimes presented to the audience in a very thoughtful, thoughtful and calculated way, and sometimes are created so carelessly and by performing a compulsory task that the viewer is distracted by a visual effect.
What has become an excuse for us to return to the keyword “titration” is a review of the most enduring and memorable music related to some programs and works of cinema and television, which contains bittersweet memories for many audiences, and a return to them for us every time. Circumstances can bring a world of memories. The memory game, which was welcomed by the audience after its beginning and publication on Nowruz 1400, made us dedicate our souls and minds to it in the form of a weekly memory game on Fridays every week, and from its passage to the years when we feel better than these painful days. Was, let’s go.
“Memory play with lasting captions” is the title of an archival report series with the same approach, which you can follow on a weekly basis in the art group of Mehr News Agency.
In the forty-fourth issue of this media narrative, we went to the music of the title track of the TV series “Aghiq”, which was written and directed by Hamid Tamjidi on the second channel of Sima in 1989 and became one of the story series due to its special atmosphere. And her motherhood was able to bring with it in a purposeful context the audience that needed to inject the spirit of self-confidence into the sufferings and problems of those years. It is a straightforward story that, although it was made during these years, took the form of a purely slogan and showcase, but naturally in those circumstances, when it went on the air more than three decades ago, it introduced a collection that could be in the form of a story. Processively and dramatically present a reality-based portrait to the viewer.
The “Aghik” story series, which Farideh Sepah Mansour TV viewers still know for playing in this enduring series, is based on the real life of a lady who was known as a rancher. This lady, named Robabeh Dehghan, built a cattle ranch in one of the villages around Arak and established a fodder farm around it, despite many problems and, of course, the opposition of her children, who prefer urban life. A story that at that time was an effective visual effort to create a spirit of self-confidence among Iranians and was able to take place in the visual minds of the audience very soon.
Farideh Sepah Mansour, Ali Asghar Garmsiri, Daniel Hakimi, Mahboubeh Bayat, Gholamreza Tabatabai, Fariba Kowsari, Parasto Golestani, Mehri Vadadian, Siamak Atlasi, Mehdi Sabbaghi, Hamid Tamjidi, Maryam Bakhtiar, Hassan Shirzad, Asghar Tavassoli, Shirin Golkar Ahmad Rezaeian, Roya Adineh and Masoud Takavar were among the actors who appeared in this series as actors and were able to present popular series such as “Wages of Fear” to TV viewers with the help of Hamid Tamjidi. Were to play roles and characters that provided a sweet and pleasant atmosphere for the audience of those years of television.
But in addition to the accuracy and measurement that a director and writer to make such series must have a special focus on it and direct the space in a direction that the audience from the first and second parts of a series Kambiz Roshan Ravan in the soundtrack and titration of the series “Aghik” tried to focus on the pure components of Iranian music in its orchestral form and found a few minutes to encourage the audience to watch a completely Iranian series. A story at the turning point of identification with it, are a number of other components and tools that in the direction of the director’s ideas can be considered as the moving arms of a television project. Certainly, “music” is one of the best, most effective and efficient ways that can be considered in the best possible effect of a work. In this way, what can be examined and analyzed is the type of use of music that should be placed in the path of the story and put the sensory conditions in front of the viewer and listener who consider the music component as part of the work and use it as a tool for sensory understanding. Think of the effect.
But designing and conceptualizing to create a musical work related to visual works, just considering the component of being a composer, can not have a very effective output. Because being aware of the category of drama and basically a musician’s perception of what is going on in cinema and television is a very important component that if we can not have knowledge and study in this structure, we will definitely reach a dead end somewhere that paves the way for writing. And is affected.
An identity that, in recent years, although found in a wider range of music activists in cinema and television, but in the early days of the victory of the Islamic Revolution did not have the full presence, and this was a limited number of artists who were able to Other arts did not interfere with the flow of soundtracks and captions.
Certainly, Kambiz Roshan Ravan is one of the most important and current artists who can be introduced as one of the leading artists in this context, which he focused on very briefly. In the fields of science, academia and research, as well as in the field of popular music, he is definitely one of the best and knows well at what turning point the Iranian audience’s sleep vein for listening to music can be accompanied by a narrative path. As one of the characteristics of this artistic behavior can be found in many works of this artist, both as a composer and as an arranger. Characteristic of the soundtrack and titration of Hamid Tamjidi’s “Aghik” series, about whom little is known during these years, proved that he carries a kind of awareness within him, of which remembrance is one of its components.
Kambiz Roshan Ravan in the soundtrack and titration of the series “Aghik”, which introduced a number of prominent actors in cinema and television these days, tried to use his musical knowledge and experience by focusing on the pure components of Iranian music in an orchestral form, Encourage watching a completely Iranian series. The music, which found a very good rehearsal in the titration of the work with the combination of Nasta’liq and Siah calligraphy, and created a melody that can be one of the most memorable and He mentioned the most nostalgic music of the credits.
This prominent composer of our country’s cinema and television, who has a rich record in the background of his cultural and artistic activities, was recently in one of his conversations about how to make soundtracks for film and television works. Kambiz Roshan Ravan is one of the innovators of Iranian music, whose presence in serials and movies as a composer is always a great opportunity that can completely relieve the imagination of the director and other actors of these works from making a music in the service of the work. He had said: Whenever I decided to make the soundtrack of a series, movie or album, I always tried to enter the space and content of the work before any process. Naturally, if the focus of that work is based on poetry, I read the poem of that work long enough to be able to relate to its content and design music according to the atmosphere of this sensory connection. In the field of visuals, the story takes place in the same framework, in other words, I am so confronted with the content of the work that the sensory and dramatic atmosphere of the work can be properly received by me, a framework that naturally pays attention to the signs and components of Iranian music. My priority is for an Iranian work; Now, whether such a structure is orchestral or otherwise is the next step that I pay attention to and it happens to take a lot of my time.
In any case, Kambiz Roshan Ravan is one of the innovators of Iranian music, whose presence in serials and cinematic works as a composer is always a great opportunity that can completely relieve the imagination of the director and other actors of these works from making a music in the service of the work. He was in the TV series “Aghik”, which designed music for the storyline of the series in an audience-friendly format, and the viewers of the sixties and seventies of those years only understood by listening to the work what series was to be aired on Do Sima TV. A series whose music, like many works made at that time, had such an effective role in introducing and perpetuating that if it was produced and designed in another structure, perhaps in this age of the influx of images in cyberspace and other frameworks, a trace of We could not find memory-making serials like “Agate”.
The series, which due to the presence of actors, is an interesting and dramatic story based on the social beliefs of the Iranian society of those years, could be called one of the most significant and memorable works of the late sixties. A series in which the music of Kambiz Roshan Ravan, with its Iranian flavor and color, sweetened its taste for us so much that if it goes on the air for us right now, although we are faced with a stale story with a clichéd discourse compared to today’s topics, but We definitely prefer watching it to many other works that aim only to gain economic benefits under the pretext of serials and images.
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