Ms. Parissa, with greetings and welcome — we have learned that on May 16, at the invitation of the Kavosh Cultural Organization in Northern California, and on May 17, at the invitation of Kereshmeh in Los Angeles, you will present two concerts. Please answer our questions so that Iranians in these regions may be better informed about these programs.
Question 1
When did you begin your work in music, and who were your teachers?
From 1346–47 (1967–68) I seriously turned toward learning authentic Iranian music. After winning first place in Iran's school arts competitions in high school, I met my late teacher Mahmoud Karimi and from then on had the honor of studying with him continuously for ten years — and intermittently for as long as he lived.
My official career began with the Ministry of Culture and Arts and lasted five years. After that I began collaborating with the Center for Preservation and Propagation of Iranian Music , affiliated with National Iranian Radio and Television, work that continued until 1357 (1978–79). Acquaintance with Dr. Dariush Safvat, who directed the Center, introduced me to new dimensions of authentic music and brought a deep intellectual and spiritual transformation — not only in music, but in the philosophy of Iranian music, the ethical and spiritual training of the musician, and practical mysticism.
Master Abdollah Davami, the renowned musician and singer of Iran's older music, was still alive in this period, and I benefited greatly from his presence — especially his style of performing āvāz and rhythmic pieces such as old *taṣnīfs*. He familiarized me with how the *radif* and old *taṣnīfs* were performed and shaped changes in my own manner of singing.
Working in the Center's archive of old tapes and listening to instrumental and vocal works of earlier Iranian musicians and singers was another part of my study and research. In that work I also benefited greatly and was, indirectly, a student of masters such as the late Ṣabā, Qamar al-Moluk Vaziri, Taherzadeh, Jenab-e Damavandi, and others — a course of study that continues for me even now.
Question 2
How do you assess the state of authentic Iranian music over the last two decades?
Music is an art intimately connected with the heartfelt feelings of human beings — a means that, more than any other art, is quickly affected by the social, economic, and political conditions of society, rising and becoming elevated, or declining and becoming empty, purposeless, and corrupt. Looking at Iranian music of the last two decades is in truth looking at Iran's social, political, and economic conditions, which have been wholly under the influence of these transformations and have brought many positive and negative results.
Question 3
What is your assessment of the work of contemporary musicians inside and outside the country?
First one must clarify what is meant by "musician." One can engage with music and not be a musician; one can be a musician and, for many reasons, not produce work exposed to public judgment. Those few who can be called musicians — their number is very small — and who have had the chance to work have, because of the same social conditions mentioned above, created works some of which are very good, some average, and at times aimless and confused — all arising from social change and from artists' inner and intellectual transformations.
Question 4
How do you see your own influence in inventing a new style of singing and music?
What you call invention is a kind of personal outlook and taste. My inner transformation over the last two decades has brought many changes in how I regard and perform music — which is very natural, because a dynamic human being on the path toward elevation and perfection cannot remain forever in one state. In the end these changes follow a firm conviction toward becoming more seasoned, more experienced, and more complete — not changing one's mind every moment, taking a new shape, and being unstable. As for what effect my recent activities have had on people, given how short and limited these activities have been, one cannot yet say; but true and sincere feelings have always affected people's hearts and will continue to do so.
Question 5
What musical activities have you had over the last two decades, and how do you assess them?
Over the last two decades, as you know, because of the ban on a woman singer's voice in Iran, I had no formal or stage activity. But out of love for music I never set aside work on music — neither research nor the study of Iranian literature. In the recent decade I have seriously pursued teaching music to interested women, and good students have been trained in this time; and for about three years I have undertaken to perform programs outside the country.
Question 6
What is your cultural message for Iranians abroad in holding these programs?
If these programs are carried out by people of integrity who care for Iran's culture and arts, and if secondary destructive aims are not in play, they will be very useful and constructive. The young generation growing up abroad will through these activities become acquainted with their country's culture and arts and will never forget what an authentic, deep, multi-thousand-year culture they possess — and other nations too will become acquainted with these cultures. Importantly, the work of these associations, in my view, must somehow also reach non-Iranian audiences and show them the authenticities of our country, and not content themselves only with the small Iranian community.
Question 7
Do you have a plan for continuing cultural and musical activities in the future?
Answering this question is somewhat difficult, because continuing my artistic activities depends on many things, most of which are not in my control. But I hope that I can at least once a year present programs outside the country.
Question 8
What distinctive features do your concerts on May 16 in San Francisco and May 17 in Los Angeles have — especially your style of singing āvāz with rhythm?
The programs performed in various American cities on this tour were first presented in 1996 at a festival in Metz, France. Three women artists were invited to perform the religious or mystical music of their peoples. The festival's title was "Sacred Voices." For that reason I used the combination of *ney* and *daf* — two of Iran's oldest mystical instruments — for my participation.
Because our listeners were only French and could not take full advantage of the music's subtleties, we arranged the program to be varied, with āvāz sung over rhythm so that audiences would not grow weary. Happily the concert was successful and the French were able to feel the spirit of our work and connect with us. Regarding singing āvāz over rhythm: this practice was customary of old, and Qamar al-Moluk Vaziri, Iran's famous singer, and several other renowned musicians performed this kind of work; we have prepared a new take on this style.
What matters most to me is that our listeners attend above all to the inner quality of our music, not to appearance and quantity. As the saying goes, open the eye of the heart so that you may see the soul, and perceive what is not unseen.
Parissa's written replies to interviewer Taraneh Roosta, preserved in a family press compilation. No independent online publication of this Q&A has been located. English rendering prepared from that transcription for the site timeline.