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Kiana’s research draws directly on her experience as a pianist with a focus on performance and interpretation of folk-inspired compositions in Western art music. Her research covers the areas of contemporary and lesser-known repertoire, analysis of live and studio recorded performances, composer-performer collaboration, performance practice of nineteen and twentieth century music, Persian music and intertextuality theories.


In her PhD research Kiana focused on piano solo and concertante works by three Iranian composers working from 1930 to the present day who have explored the potential of Persian music in a “Western” paradigm, seeking to establish a performance practice that runs through all of the above areas. Her research also explored the reader-oriented principles of intertextuality for their conceptual relevance when informed intuition and subjective associations become part of the performer’s interpretation.

" Kiana consistently produces evidence of her disciplined,

rigorous and organised approach to her research and

its dissemination through regular recitals, lecture-recitals and

conference presentations.

- Professor Jane Ginsborg                          
Music psychologist / RNCM Associate Head of Research                                 


Kiana has presented her work at various conferences and events across the UK and abroad including at the prestigious symposia Iranica, held at the University of Cambridge, Doctors in Performance at the Royal Irish Academy of Music, Conservatoirs UK research forum at the Royal college of Music, Tedx Tehran, Tbilisi International Musicology Conference, Performance as research method conference organised by Cambridge center for musical performance study at Guildhall school of Music and AHRC North West Consortium Doctoral Conference at the Royal Northern College of Music.


Kiana’s most recent article was published by the journal GESJ: Musicology and Cultural Science based on a paper presentation delivered at  the Tbilisi International Musicological Conference entitled 'Musical Identity and  Cultural Crossroad'. The article examines how composers have imitated various  characteristics of folk musical culture, derived  knowledge consciously or unconsciously from  performing styles, melodic patterns and modes  with case studies by Liszt, Bartok, Debussy and  Takemisu.

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