Kambiz Roshanravan (Persian: کامبیز روشن‌روان, born 9 June 1949) is an Iranian performing musician, composer, conductor and music teacher. As one of the famous composers in Iranian classical and traditional music, he has composed or arranged various works in these styles using well-known Western and Iranian forms such as: symphony, sonata, symphonic poem, concerto, row music forms and local music. His professional life is divided into three parts: composing, teaching and professional activity in the music community. During his career he has created many works for film music, vocal music, symphony orchestra and chamber, and for many years he has tried to teach, write books, pamphlets and articles in the field of education, He is referred to as an expert musician in theoretical and harmonious discourses.
Biography.
Early years.
Family.
Kambiz Roshanrovan was born on June 9, 1949, in Tehran, Kashanchi Alley, in front of the "Municipal Cafe" (the location of the student park and theater of the current city), in religious families with moderate financial situation. His father was from Bushehr and a person with strong religious beliefs, so that he held congregational prayers with his children at home and in addition to himself reciting the Qur'an in a vocal tone, he also encouraged his children to do so. Her mother was from Mashhad and had a higher education. She had a great interest in art, literature and painting, which is why she was one of the first women to receive a bachelor's degree in literature from the university in those years.
Childhood.
Kambiz's childhood was marked by a lot of mischief and playfulness, so that when he entered primary school at Manouchehri Elementary School at the age of six, there was not a day that he was not punished by the School Principal. The first signs of his interest in music appeared during this period. The "Municipal Cafe" was located near his residence, which made him choose to play and have fun during the summer holidays. In this café, although there were all kinds of play equipment, but more attention was drawn to the night tent show that was performed in another part of the café, and unlike his other playmates, he just sat and watched these performances. The reason for his intense interest in marquee was the presence of a Kamancheh player who performed the soundtrack of this play with a pleasant voice, and he enjoyed the soundtrack more than any other part of the play. He also spent the night in the same café watching movies, still paying close attention to the soundtrack. Most of his lessons, except math, were low-grade, and most of the time, when he returned home, his clothes were torn and his mother had to sew them to be ready for school the next day.
Adolescence.
Studying at the Higher Conservatory of Music.
Roshanravan's great interest in music, even in families where neither of them was interested in music, made him eager to listen to the songs and tunes that were played on the radio at that time and to imitate the songs. After each song you hear, he would go to the backyard and sing the song aloud accurately and completely, which would surprise and encourage the neighbors of the child's talent in singing. Ironically, in this neighborhood, there was a person named Mostafa Kasravi who was the composer and conductor of the Radio Orchestra. Hearing these songs, he decided to talk to the Roshanravan's father and encourage him to send his son to the music conservatory. The father initially objected, but eventually, at Kasravi's urging, agreed to enroll his son in the conservatory, provided he only played the violin. Roshanravan later found out that the main reason for his father's condition was that he had once been interested in music and wanted to learn the violin, but had failed due to the family's religious prejudices, So he was looking for the realization of his long-held dream in his son..
After completing his primary education, Kasravi introduced him to the Higher Conservatory of Music for registration. After a musical talent test and entrance exams, he was welcomed and admired by the conservatory officials and was accepted as a talented student. But his entry into the conservatory was the beginning of the story, because at that time the selection for the music student was examined and selected according to the criteria of music teachers, based on physical physique, fingers, lips, etc., and they were the ones who decided what instrument the student could play to succeed in the field. These criteria led from the very beginning to oppose the choice of a violin instrument for Roshanravan, It was believed that his fingers were not suitable for playing this instrument and he could not become a good musician in this field. Finally, a small instrument called Piccolo was found to be suitable for his fingers, and he was required to learn it. He, who had no interest or knowledge of this instrument, could not fulfill his father's wishes at the very beginning.
About a year had passed since Kambiz Roshanarvan attended the conservatory, but during this time he had not made significant progress in learning Piccolo, Because he continued to play and have fun, and this behavior caused problems, Because his instrument was stuck in his pocket due to its small size and lack of a protective box, and this caused the instrument to be damaged or its keys to break, he had to go to the conservatory repair shop again and again to fix the instrument's technical defect. Eventually, he decided to move his studies from the Higher Conservatory of Music (classical music education) to the National Conservatory of Music (traditional music education) so that he could learn the violin there.
Studied at the National Conservatory of Music.
Kambiz Roshanvarvan had to go through the entrance and talent test again at the National Conservatory of Music. He was accepted this time as well, but there, too, he was opposed to choosing a violin and the flute was considered suitable for him, but the problem was that there was no flute teacher and instrument in this conservatory and the instrument had to be bought from abroad. And the delivery of this order took six months. Inevitably, until the preparation of the instrument and the selection of the teacher, it was suggested by Hossein Dehlavi, who was in charge of the conservatory, that he receive the instrument and learn the Santur, thus making him the first student to learn two specialized Iranian and Western instruments at the same time. He studied the Santur first with Dariush Safvat and then with Arfa Atraei, and then with the flute in the presence of Manouchehr Monshizadeh (who was the first flutist of the Tehran Symphony Orchestra), the theory of music and solfege by Mostafa Kamal Poortorab and harmony, poetry and music learned from Hossein Dehlavi. During this period, Roshanravan became acquainted with both of its specialized instruments and was seriously committed to its training and development. But again, he had a sudden problem at the end of the ninth year of school, and at the same time he suffered from several diseases, including tuberculosis, intestinal fever, lung disease, and the doctors' recommendation that he could not continue playing the instrument and studying in the conservatory. And if he recovers, he should continue his education in regular schools. Finally, after about 40 days of intensive care and complete quarantine, he was able to miraculously recover from this tragic accident and regain his health.
After complete recovery, he returned to the conservatory and continued his progress in learning Persian music with dulcimer and Western music techniques with flute. In his tenth year, he was assigned to learn the piano; Because the piano was a mandatory instrument for all music students to teach harmony in the conservatory. In the same year, Hossein Dehlavi invited Hossein Tehrani to teach Tombak at the conservatory and introduced four students, including Roshanvarvan, Ali Rahbari, Esmail Tehrani, and Esmail Vaseghi, to teach him. Hossein Tehrani trained them for a year, after which he left the task to his student, Mohammad Esmaili. After witnessing the success of his students for some time, Esmaili formed a group of five Tombak musicians under his leadership and held several concerts throughout the cities of Iran. Thus, Roshan Ravan mastered four instruments and simultaneously with studying and trying to obtain a diploma, every week and every time, with one of these instruments, he performed programs live on the national television of Iran, whether in groups or alone. While teaching at the Academy of Fine Arts in his final year, he eventually graduated for the first time in the conservatory's history with two diplomas in Santur and Flute.
studying in university.
After graduating, Roshanrovan entered the Faculty of Fine Arts, University of Tehran in 1967. There he chose composition as his main field and in the presence of masters such as Houshang Ostvar (Harmony), Mehdi Barkashli (phonetics), Mohammad Taghi Massoudieh (ethnomusicology) and Alireza Mashayekhi (Form and Analysis), he studied various fields of music, but specialized courses. But he took specialized courses with Thomas Christian David (composition and flute) and Emanuel Melik-Aslanian (piano). While attending university, he continued his educational activities and concerts, which began in his final years at the conservatory. In addition to teaching at the Academy of Arts, he performed in various cities with the Tombak Quartet Ensemble, which he had founded since his time at the Conservatory. He also became a member of the flute soloist in the Majlis Orchestra of the National Television of Iran and held several concerts. At the university, he collaborated with student music groups with various instruments in which he specialized, and the result was the performance of his own works and those of classical music composers. In addition, the same conservatory from which he had graduated immediately invited him to collaborate and teach, and thus, during his student days, while teaching at the conservatory and other educational centers, holding various concerts and learning to compose, he succeeded in his activities. He continued his music career and in 1351, he obtained a bachelor's degree.
Military service.
After graduating from the University of Tehran, he enlisted in the army, and these days, too, had many adventures for him. Roshanarvan completed his military training in Tabriz. During this time he was oblivious to military training, and with the notebooks he carried with him, he only practiced composing, which is why he received the lowest rank in the final exams of the training period. This rank made it impossible for him to choose the city of his choice to serve. He was informed that only the quota of Sarpol-e-Zahab city remained. During his transfer and temporary stay in Kermanshah, he met by chance with the military music commander of the Kermanshah Division, whom they already knew and who was previously a musician with the Tehran Symphony Orchestra. He suggested to the Enlightenment that he be replaced in this position so that he could go abroad to continue his education. Roshanarvan accepted the offer. When military officials learned of his abilities, they welcomed him and, in addition to the Kermanshah army, appointed him commander-in-chief of the military music in the provinces of Kermanshah and Kurdistan. After assuming responsibility, Kambiz Roshanvarvan expressed his dissatisfaction with the state of the military orchestras and decided to begin the professional training of soldiers by writing etudes and rehearsals for each instrument. He also traveled to various cities in the two provinces, expanding military training and organizing military orchestras. After a while, his success in improving military music led him to establish a music school in the city of Kermanshah and use the same soldiers he had trained as a teacher. The activities of this school attracted a large number of students from the surrounding cities, and some of these soldiers continued their professional activities in music after their service. On the other hand, the directors of the Music Conservatory in Tehran, who were suffering from a severe shortage of music teachers, wrote a letter to Mehrdad Pahlbod, the then Minister of Culture and Arts, requesting the transfer of Roshanarvan to Tehran through legal procedures. The request was granted, but the Roshanarvan one, who had worked hard for the soldiers and orchestras, did not see the students' departure in their favor, Therefore, after receiving the transfer letter, which