Why did the composer of the series “Noon Kh” use Turkish music in the credits of the last episode of the series? He explains: The music of “Lilim Lee” is of Kurdish origin. Some may think of a song sung by İbrahim Tatlıs (Turkish singer) after being aware of the series credits, but since the singer is Kurdish, he translated some popular Kurdish tunes into Turkish such as “Lilim Lee”.
Sadegh Azmand, the composer of the TV series “Noon Kh”, added in an interview with ISNA: It’s like work. They speak Turkish.
We asked him: Are you a Kurdish from Turkey or a Kurdish from Iran? , He answers: The music I used in the series was Kurdish music; for example, I believed that the Kurds of Khorasan are Kurmanji, but you should know that the Kurds of Turkey are Kurmanji. That’s why I tried to look at Kurdish music and evaluate all the dialects. Of course, “Lilim Lee” is irreplaceable, and the poem of the famous master “Master Heiman Mokriani”. As a result, the music of “Lilim Lee” we hear in the drama has been restored to its original form.
Sadegh Azmand further mentions that he was responsible for composing the soundtrack for the drama Noon Kh3: He thought a lot about composing the music for the drama; Because this series was different from the other movies I paid for the music for. First of all, this series was a comedy, and besides being a comedy, it managed to reflect all the pain and heart of the people of Kurdistan.
Azmand continues: Folk music was my main focus when composing the soundtrack for the drama Noon Kh; Because our country is incredibly old, each region has its own music. Besides all regions of Iran, Kurdish regions of Iran even have rich ethnic music. For this reason, I decided to shape music based on the intervals of Kurdish maqam music, the melody of which was composed 1000 years ago.
Sadegh Azmand adds: we’re just trying to go back and use the space for a comedy series that’s central to these people’s culture; Suddenly the melodies were composed, maybe even forgotten, according to their melodic richness and their own status, and as far as I know, a minimum of the people of Kurdistan loved this piece.
In the last part of our interview with Sadegh Azmand, we wonder why film music is neglected in film and television. It’s important that producers and directors enjoy soundtracks, he says. Manufacturers often try to get the job done at rock bottom prices; As a result, the soundtrack for the film was not created, and while it was definitely taken and created from other work, it is not worth the effort and was not produced by a skilled composer.
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