Colloquium - Presenters

ABSTRACT

This project presents an innovative synthesis of Western transformational theory and traditional
Iranian music in composition, centering on the Chahargah mode (one of the Iranian modes, which
shares similarities with the double harmonic scale) and rhythmic cycles drawn from classical
Persian poetry and the Radif repertoire (the core repertoire of Iranian Classical Music). By
applying analytical frameworks such as pitch-class set theory and beat-class set theory, the
composition reinterprets the modal and rhythmic practices of Iranian music, revealing a dynamic
dialogue between cultural heritage and contemporary musical innovation. Atonal Ghazal will
premiere on April 4, 2025, at the Don Wright Faculty of Music during the Annual Student Chamber
Music Composition Concert (ASCMCC).

The piece is structured around the distinctive intervallic structure of the Chahargah mode—
particularly its augmented second—which serves as a unifying element in both melodic and
harmonic progressions. This interval is developed through transformational operations that bridge
traditional trichord and tetrachord structures with modern harmonic concepts. Complementing
this, the work transforms rhythmic patterns inspired by metric cycles found in Persian poetry and
Radif (e.g., Ghazal, Dobeyti, and Basteh Negar), showcasing how rhythmic repetition and subtle
variations evoke cultural narratives and emotional expression.

The title Atonal Ghazal reflects the work’s conceptual foundation. Inspired by the Persian
Ghazal—a poetic form known for its cyclical structure and emotional depth—the composition
unfolds through structured repetition and transformation. By integrating Iranian rhythmic cycles
and modal elements within an atonal framework, the piece bridges historical and contemporary
musical thought, demonstrating how inherited forms can be reshaped in a modern context.
A live MIDI performance accompanies the presentation, offering an experiential illustration of
these theoretical principles. Listeners will witness how abstract ideas materialize into a sonic
journey that reflects national identity and the evolution of musical language. Addressing the
colloquium theme, Investigating Music and Its Meaning, this project interrogates whether music
functions as a means of communication, a vessel for cultural expression, or both. It provides
insights into how contemporary composers integrate diverse influences—from mathematical
structures to poetic forms—to create works that are both technically rigorous and culturally
resonant.

 

KEYWORDS 
Transformational Theory; Iranian Music; Chahargah Mode; Cultural Identity; Rhythmic
Transformation

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BIO

Mohammad Tonkaboni, also known as Seyed Mohammad Tonkaboni, is an Iranian composer,
Santour player, and educator. His work spans Electro-acoustic Music, Orchestral Composition,
Iranian Classical Music, Film Scoring, and Music Education. Tonkaboni integrates Iranian
Classical elements into his compositions, blending traditional elements with Western methods.

His works have been commissioned by prestigious ensembles such as KNM Berlin and performed
by the Tehran Symphonic Orchestra. He holds an MA in Music Composition from the Tehran
University of Art and is currently a PhD student in composition at the University of Western
Ontario, where he also serves as a TA.

Beyond composition, he has taught at leading Iranian universities and directed the Bang Ava-ye
Sarang Art Company. He has held leadership roles in Iran’s music community, serving as a judge,
music director, head of National Music Associations in KPF, and board member of the Composers
Association of Iran Music House.