Welcome to Behzad Ansari Official Website
Welcome to Behzad Ansari Official Website
My research explores intercultural music composition through dialogue between Persian music and other musical traditions. It focuses on rhythmic cycles (adwār), modal systems (dastgāh), and microtonal tuning as compositional frameworks, bringing together historical theory and contemporary creative practice.
Through original compositions, collaborative performance, and practice-based research, the project investigates how traditional Persian musical structures can be reimagined within modern intercultural contexts.
Niyāyesh is conceived within an ālāp–āvāz framework, drawing on the shared tradition of non-metric, exploratory performance found in both Hindustani and Persian classical music. Modal orientation evolves through continuous negotiation between Persian dastgāh logic and rāga-influenced melodic behaviour. Cyclical rhythmic continuity gradually becomes foregrounded through the adoption of Hindustani rhythmic principles, most notably the Tintāl framework (16-beat cycle).
This recording features the Persian setār, whose timbral sensitivity and microtonal flexibility closely align with the contemplative character of the piece.
The instrument’s overall tuning was transposed downward by approximately one and a half steps(A), and the third string was retuned to the tonic to function as an open drone. This adjustment created a more resonant and structurally responsive tuning environment, enabling clearer interaction between Persian and Hindustani modal tendencies.
Abhijit Dan in Conversation with Behzad Ansari
This recorded conversation forms part of the conceptual and research background informing Niyāyesh (Invocation). In this dialogue, Sydney-based tabla artist Abhijit Dan discusses foundational ideas in North Indian classical music, including rāga structure, the function of ālāp, tonal hierarchy, and the perceptual nature of rhythmic organisation.
Rather than functioning as instructional material, the exchange documents a reflective process between collaborating musicians. The discussion provided conceptual reference points that shaped aspects of modal development, phrase continuity, and temporal elasticity within the composition.
Insurgency is a composition for setar, tabla, and ensemble presented as part of my Doctor of Creative Arts research, “When Cultures Converse: A Persian–Indian Musical Dialogue.” The work investigates how Persian rhythmic cycles can function as flexible structural and expressive units within intercultural ensemble collaboration. Rather than relying on a single recurring metric framework, the piece unfolds through successive Persian cyclical patterns. Rehearsal-based development played a critical role in shaping the final form, revealing that rhythmic coherence emerges through embodied performance, listening, and negotiation between musicians rather than through theoretical design alone.
This composition marks a shift from outward intercultural dialogue toward a deeper engagement with the internal logic of Persian classical music and the radīf.
The ensemble was invited to enter a shared modal space shaped by the Persian dastgāh system. Musicians from diverse stylistic backgrounds adapted their instrumental techniques, tuning strategies, and phrasing behaviours to engage with Persian intonation,and cyclical melodic development.
Rooted in the modal environment of Homāyoun, the composition draws on the expressive character and structural tendencies of key gūsheh-hā, including darāmad, Chakāvak, Bidād, and Owj.
This composition is informed by a Persian poem by Rumi and investigates the translation of poetic meaning into music through Persian rhythmic and modal systems. Grounded in the Dastgāh of Shour, the work explores cyclical rhythm, melodic development, and microtonal inflection as compositional tools. Through bilingual text setting (Persian and English) and intercultural collaboration, the piece examines how traditional Persian musical structures may be recontextualised within contemporary performance practice.
This composition is based on a Persian mystical poem by Rumi and explores the musical articulation of spiritual intoxication as a metaphor for divine love. Drawing on Persian modal language, cyclical rhythm, and microtonal inflection, the composition translates poetic imagery of ecstasy and loss of self into sound. The work incorporates bilingual text setting (Persian and English) and regionally influenced material from Kurdish folk traditions, situating the piece within a contemporary Persian-fusion framework that recontextualises Sufi poetic meaning through intercultural performance practice.
Early Bird explores the modal intensity of the Persian dastgāh of Chahārgāh through the asymmetrical Zarb-e Fath rhythmic cycle (5 beats), articulated as tan tanan. The work centres on ensemble-based improvisation informed by radīf principles, where melodic development and phrase behaviour emerge through collective listening rather than fixed scoring. A key dimension of the piece involves negotiating Chahārgāh’s microtonal landscape, presenting distinct tuning challenges for non-Persian performers and requiring adaptive approaches to intonation, gesture, and modal balance.
Emerging from a practice-based improvisational approach, the piece prioritises textural movement and relational time over fixed formal design.
7.4:
Audio example of Chahar Mezrab:
Behzad Ansari is a Persian musician, composer, and Doctorate of Creative Arts student at UOW in Australia. He founded Avaye Rood ensemble in 2006, which has performed traditional Iranian music worldwide. As a multi-instrumentalist, he can play santour, tar, setar, barbat (oud), santoor, and tanbour. Behzad has released an album titled “Lover’s Secret” in 2021 and has had numerous performances worldwide, including in Germany, Greece, Iran and Australia. He has also worked extensively in intercultural events, collaborating with musicians from different countries.
2024
2023
2022
2021
2020
2017
Performed at “Rudolf Otker Halle” by invitation of “Kulturamt Bielefeld” (Ministry of Culture of Bielefeld), Bielefeld, Germany
2012
2006-2022
