Which feature makes the captions of the series last? / Akhshabi: Not all series should have captions
According to a Fars Radio and Television correspondent, Majid Akhshabi, the singer who was the guest of the weekly section of the “Serialist” program on “Memorable serial titration”, said in an interview with Pedram Karimi about the characteristics of a good music and titration for a serial: Basically, any artistic phenomenon can be divided into two parts, form and content. Music is no exception. Fermi beauties can be found in music and this is very important.
He continued: “There are things related to the structure and configuration of music that shape its emergence and manifestation, such as sound space, mixing and mastering, step, rhythm, arrangement, orchestration and sono rhythms, including the singer’s voice, instruments, technique, Expression, texture and all these things can be related to the formal beauties that the composer presents music with this format and this body. It is natural that the audience pays a lot of attention to this category. Like their attention to a sound like a violin, no matter what it plays, the sound itself is beautiful and forms the form.
He added: “Sometimes the audience’s expectations remain the same, sometimes it extends to the content.” What he wants to hit. What is the circulation of melody and melody and what are the conceptual features of rhythm? When it completes this story and cycle, it can be said that beauty is achieved and that effect reaches a beauty.
The music of the credits must be compatible with the content of the series
Akhshabi continued: We also have the issue of compliance in the serial issue. Is this music compatible with the content of the series and complement each other, or are they essentially two separate phenomena? This is often the case. A composer did not exactly match the story and took a piece of music from an album and put it there. They have nothing to do with each other in terms of poetry, music and sound atmosphere! While the two should help each other and complement each other.
The singer stated: When the audience sees a series, they like to have a conclusion at the last moment, and the sum of these moments is when the music is played. The music allows the audience to store, review and summarize the memories of the series and scenes. If the caption is good and complete, this is one of its functions. The first titration is a start and does not have the function of the final titration. So it is usually short and if there is to be a verbal titration in the work it is always the final verbal titration.
He emphasized: Basically, for beauty, we must achieve innovation and innovation. Something that is different from what we hear from what we remember.
When a serious titration for a comedy series answers
“No,” Karimi said in response to a question about whether all series need captions. Many times I felt the urge to try to make a piece that matched. Basically, the parts of comedy series have the difficulty of making you humorous music or serious music. I have had several experiences in the series “House to Shower” and so on. We took risks, we talked very seriously and we did not follow the structure of humor, and we gave it a serious structure and it answered.
Akhshabi further said about the titrations of memorable serials: Farhad Fakhreddini deciphered what was left of the written writings of Abdul Qader Maraghei with the music of the serial “Imam Ali (AS)”. Many other artists tried, but he evolved and the melody was extracted. This originality, arrangement and adaptation of the orchestration to the atmosphere of the series helped a lot and basically brought the music to the originality, which indicated the master of music making, Master Fakhreddini. I hope they are alive and that all Iranians will benefit from their beautiful compositions again. Siddiq Tareef is one of the masters of traditional music singing who also did well in this composition. Later, a ritual with this music appeared in the series and appeared.
Original Iranian music in the series “Imam Ali (AS)”
He also spoke about the choice of instruments in historical works: “Many times instruments from the same region and the same date are used.” For example, Master Fakhreddini used original Iranian music in the series “Imam Ali (AS)”. It was a combination of all the possibilities that could be used. Instruments can often flourish geography and even history. Some of the historical instruments and sounds that can be heard from them can connect the audience to history and take their imagination to geography. For example, when we hear the sound of drums, our minds go out of India, when we hear the sound of daf, we go to Kurdistan.
Features of “Green House” serial titration
Akhshabi said about the music of the “Green House” series: It was one of the first works in which pop music was beautifully presented by Bahram Dehghaniar in the form of a series title, which also had a special and creative melody. This production was close to the comedy dimension and was in line with the series. The second titration was read by Ali Tafreshi, who did it well and beautifully. I haven’t known about him for a while, but he is a very worthy and capable artist.
Referring to the title track of “Heroes Do Not Die” composed by Babak Bayat, the singer reminded: He was a master of composing ballads and songs. I think that in this work, the poetry, melody, arrangement, adaptation and convergence of this music had reached its peak, and Mohammad Isfahani was able to sing it as beautifully as possible. The point is, it’s different when a professor does something. Sometimes the creator is a novice and has no experience, of course he should be given a chance, but I believe the works of the masters are really remarkable. I’m talking to people who make quick judgments. When a professor does something, he or she shares a finding that needs to be taken into account based on his or her knowledge and background, and if we have not been able to communicate, it may be a problem for us to receive.
He said: “Basically, they say that music is an abstract art, which in fact can be said that there is no exact equivalent in nature.” Sounds in the nature of summarization are derived and combined. It becomes the art of music. The different encryption and data that a master puts in the package makes this work reproducible. That means you listen 10 times and 100 times, each time it adds something to you. Thus, the constructions have these qualities.
When a sentence in the caption summarizes the entire content of the series
Akhshabi added: “The music of the TV series” Roozgar Jovani “was one of the original works that used pop music in the credits. Its format was a little newer and more modern than previous works and it was made by Sasan Jamalian, Mohammad Reza Eivazi also read this piece. The lyrics of this work were in line with the series and gave the viewer the opportunity to adapt it to the work, to conclude and to store the memory he wants. Often a sentence in caption poems summarizes and compresses the entire content of the work. Including the concept of “empathy is better than common language” in the titillation poem of his youth.
The risk he responded to by singing in the “After the Rain” subtitle
The titular singer of the series “Lost” continued about the music of the series “After the Rain”: “The music of this work was very original and Saeed Ansari managed to combine the music of Gilan with classical pop music well.” Sometimes, if these combinations are not done masterfully, it becomes like an awkward patch, but when a master mixes these two genres of music, the result is such that the living memory of Fereydoun Pourreza with the song of Gilani music is as beautiful as possible. Had performed it.
He stated: Singing is not usually used in serials and no one takes the risk to put the song in the credits. But in this work, it had happened and it had attracted the audience well. Singing is without meter and everyone likes that the music of the series is active and dynamic and has a rhythm. Singing is an example of Iranian music that can be specific to traditional song that is sung without rhythm and meter. Its exciting dimension to the song is small, but the beauty, fusion and innovation that took place in the music of the series “After the Rain” made it very beautiful.
Akhshabi stated: In the series “Under the City Sky”, the adaptation of the poem was a bright spot. Mohammad Ali Shirazi is a full-fledged master who composed this work and it had a fluent and fast-paced melody as beautifully as possible. Amir Tajik’s powerful performance after this comedy series gave the audience a chance to conclude. The composer was Mehdi Ghafourian. The low reading of the generation of Amir Tajik and I has an explanation and justification. I will definitely talk about it if I have the opportunity.
Which features made the titration of “Tenth Night” last?
Saying that the music of “Tenth Night” was another work whose poem was composed live by Afshin Yadali, the singer reminded: “Again, the brevity of the story was evident in this poem, the very artistic arrangement and orchestration of Fardin Khalatbari with the masterful reading of Alireza Ghorbani.” It turned into a lasting and beautiful work. Many musical works, if made well, can have an independent identity and even if separated from the series, they will have their function.
Akhshabi further said about the titration of the series “Lost”: This was a good experience for me. I had tried to combine original Iranian music with pop music, which was new at the time. We had tried to get closer to the spiritual space and we had succeeded to some extent. Convergence was formed between space, place and time, which resulted. Innovation in music is basically a condition and an artist’s success in production and performance, but it must be tied to the attractions of the series. Sometimes the music is really good, but it does not put the viewer on the TV and makes the music not work and not be seen. Sometimes it is the other way around and a very good series can enhance a piece of music. Both must be in harmony with each other and the stone.
Seventy years of worship go to waste overnight
He pointed out: The music of the series “Forbidden Fruit” was also one of the good live poems of Afshin Yadali. It had a psychological melody. The phrase “Seventy years of worship goes to waste one night” was part of the song that summed up the whole story of the series in one sentence. This music with the voice of Ehsan Khajeh Amiri became an audible caption. From the 80’s, a new range of serial payments began with the final music and titration, and many worked in this field. In terms of the number of works, I have had success in this field.
He reminded: The characteristic of “Mokhtarnameh” music was the use of a female singer who sings a lullaby. It was very valuable. It was important to prove that playing a lullaby is really wrong when it can multiply the impact of such an event. This choice was made wisely, and the managers at the time took that risk. Managers’ risk-taking is crucial to the formation of good music. The music of the regions and the music of the rituals were used well and correctly, and the result of this music was beautiful. The voice of the singer, Akbar Sultan Ali, was a special voice that could link the work to history and geography. Some sounds have this feature.
Akhshabi, while referring to the music of the series “Capital”, said: “I think the success of this series was mostly due to innovation and innovation in the soundtrack. It is a place that usually uses all the capacities and sounds and arrangements. Arya Azimi Nejad did a good job and this music fit. It may have been a little unfamiliar in the first scenes, but then we saw that it is very beautiful and valuable. Seyed Jalal Mohammadi was a musician, Hamidreza Torkashvand is a good singer and he has played good roles; I hope that his voice capacity, which has many capabilities in traditional music, will be reflected.
The artist’s imagination is much more special than the directors’s imagination
“Risk and bold management decisions can expand the music literature and confront us with newer music,” he said. A director may like to perform what the artist has in mind and can imagine, if the artist’s imagination is much more special. Sometimes it has to go through the imagination of a manager, a producer and a director, and that does not work at all. This problem is basically seen in collaborations sometimes. A producer just thinks what he likes and thinks it’s right, the composer has to follow him. Many times, like Cyrus Moghaddam, they give this opportunity and take the risk that there is no problem. You want to use Mazandaran music. But this risk was taken and it worked well.
“Our music has a huge potential,” the pop singer concluded. We have eight types of music in our country, which is a capital for the country. For many European countries, music is not considered independent and specific, but we have so much diversity in the types of music that should be used, instead of resorting to Western music, which is relatively simpler than our music, we should Let’s deal with this capacity. I hope that such programs that describe and interpret works of art will be more in the national media. It is an audience that must have a more specific taste and demand more specific work. If it suffices with ordinary things, the current that should exist cannot grow in strength and intensity. Audience demand helps to raise the level of work.
“Serialist”, produced by Mohammad Barikani and Mojtaba Faraji and performed by Pedram Karimi, is a work of the History, Culture and Art Group of Channel One, which is broadcast on Thursdays at 11:15 PM on Channel One.
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