Shahriyar Jamshidi was born in 1971 in Kermanshah and was brought up in a family and environment that didnít have any tendency toward meaningful arts. He had intense interest to writing and painting from childhood and he wrote his biography and social circumstances of the society where he lived, and the great works of classical literature of the world was his sole company those years, he practiced calligraphy for awhile. But in long term, music the only element of life was the sole thing that could soothe his wandering and unstill soul and fulfill his free parts of inside. Zagros Mountains with its high, elevated figure that reaches the sky always encouraged him not to scare and keep on the road of art and music which was his most difficult choice in his traditional and religious society where he was brought up.

His first music instructor was Mahmood Merati who taught him playing Kamancheh instrument and music and the basics of music for two years. In 1997, He graduated in music and got his B.A from Tehran University of Arts. This change was a start point for him to enter the professional world of art and in college he enjoyed from the professors such as Ahmad Pezhman, kamal Portorab, Kmabiz Roshan Ravan, Dr. Arianpor, Hoshang Kmakar, Sharif Lotfi, Mohsen Elhamaian, Taghi Binesh, in fields of history, theory and knowledge of music. From the start, Ardashir Kamkar and Hadi Montazeri helped him with the continue of learning Kmanacheh instrument, and when he was in college, he was acquainted with the great Baku Ian player Mones Sharif Ove, and he learned many details about techniques and methods of Azarian Kamancheh playing. But his leading change of view to Kamancheh instrument appeared at the time when he met the artist Mojtaba Mirzadeh and during two years of close friend ship with Mirzadeh, he became fond of Mirzadeh playing methods and way of thought.

We can point out of his artistic activates and career such as supervision and management of college groups throughout study in college and performing researching concerts in different cities of Iran, supervision of Kabuki group in 1998 and performing in Tehran, Tus and Mhabad with voice of singers Kaveh Bah Bah Zadeh and Yousef Bolorian.  In 2001, collaboration with Chakad music group with supervision of Alireza Javaheri and performing concerts in Tehran, Mashhad and Gorgan, collaboration with musician Bahman Rajabi, performing Savaran e Dashte Omid part,  in 2002, recording supervisor and composer in Kermanshah Radio and Television, in 2003, supervisor and composer of Zhivar group, and performing concert in Tehran. in 2004, establishing  Dilan group in memory of late musician Ghader Dilan, and some performances in Honar hall and Rodaki hall with the voice of singer: Fraiborz Rauofi, in 2005, composing and arranging of Alvanati cassette with voice of singer: Yadolah Rahmani. Performing live programs in Kurdistan of Iraq with the invitation of different satellite channels such as Zagros TV, Kurd Sat, KTV from (2002-2007). In 2006, Composing and making and recording Heru cassette in collaboration with artist Mohsen Badri. In summer 2007, Manzomeh Kherad Institute, Tehran: performance of Dilan group, parts of Kurdistan Music and North Khorasan music.

He has recently moved to Canada with a hope to introduce his art to a wider multicultural society, and performed at many events including KSA Folk Night at the University of Toronto February 2013, Iranian Heritage Day at RAM May 2013 and Tirgan festival July 2013 in Toronto. His main goal in Canada is to discover the opportunities to improve Kurdish music. He is currently working on a new album which will be released later 2014.


Dilan Ensemble:


Most of his activities are based in field of Kurdish music; he has been verifying and researching the musical culture of five regions of Kurdistan. He composes his songs based on themes, tunes and modes of these regions. He has introduced himself to art society as a Kurd Musician. Kurd art with its magnificent, impressive and unique features has shown new ways in Iran music. Itís obvious that having competence and academic study are foremost and initiator in knowing and development of this art. In 2004, with all the barriers and limitation, he established Dilan group according to this view toward music and using his own different experiences in music. He named it to memory of the great brilliant Kurd-Iraqi artist Ghader Dilan (May 24, 1928-March 18, 1999). May be, it is the for first time in the history of Iran Music that some one chose a music group name after and in memory of a Kurd artist. Permanent works are remained from Dilan, and he was a forerunner artist in his time. Dilan worked as a musician when Kurdistan had difficult and unstable situations. Dilan went to Perak the capital of Czech Republic to continue his academic and scientific learning of music and education. Dilan lived there for many years and during these years he added permanent works to the collection of Kurdís nation musical culture. Nowadays, we can still hear Dilan songs among Kurd people everywhere; although he spent his last days of life in expatriation and being away from his home and he passed away in Perak. Dilanís most important last will was to be buried in his hometown in Kurdistan and lay this request to his friendís responsibility. We can mention of Dilanís important works which were from the poets who has permanent literary works in new poetry such as Abdullah Goran. Parts: Ghezh Kali, Havrim Bi Kas, and epic works with the main orchestra based on themes of Kurdish music which where preformed with Perak orchestra are remained from Ghader Dilan. 




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