Polyphony in Iranian Music (II)

1 December 2018 – 10:04 pm Posted in Articles' List, Criticism, General Information, Instrument & Playing, Iranian Classical Music

Written by Dr. M. Taghi Massoudieh (1927-1998)
Originally published in Honarhaye Ziba (Fine Arts) 3, 1998, 95-104.

Translated by Mahboube Khalvati

With regard to each polyphonic form, only one specific and distinguished example is analyzed. These polyphonic forms are as follows:

1. The coincidence of different voices due to an alternative performance by two singers.

The second singer starts singing avaz before the melody the first singer is singing is completed. This polyphonic form is especially observed in Ta’zieh as can be also seen in the notation.

Transcription No. 1

Transcription No. 1 is related to the Ta’zieh of the martyrdom of 72 Comrades which the author recorded on September 14, 1980 in Deh Abad in Meybod (around Yazd)[i].

Imam Hussein (PBUH)’s avaz (Transcription No. 1, b, staff 5) begins before Gabriel’s melody (a3, staff 4) is finished. Imam Hussein’s avaz then adopts a specific metre in line 6 onwards (Transcription No. 1). Specific metre of the Avaz includes irregular consequences of non-symmetrical metric-rhythmic units of 5+7+3+4/16. This consequence of non-symmetrical metric-rhythmic avaz carries relations to the howness of syllabic combination of the lyric and music. Syllabic combination of the lyric and music, has firstly facilitated the understanding of the text and strengthened its influence on the listener. The questionable or memory-evoking content of the second line of the poem (but, have you forgotten the promise of Alast Day?) obliges its melodic figures to end on E and bring about a status of uncertainty (Transcription No. 1, a2, a3, staffs 3 & 4).

Four repetitions of “Oh, Zulfiqar” in Imam Hussein’s avaz result in, firstly its belonging phrase (b1 staff 6) to consist of four changes in the brief figure (b1 staff 6) and secondly the types of this figure until the middle of phrase b1 (staff 6) to be explicitly separated by a quaver rest. As the next line begins with “legacy of Heydar” or “legacy of God”, a beginning figure is added to the two-type period b1 (staff 6) (b2 staff 7, b3 staff 8). The removal of the repeated melodic figure at the middle of period b3 (staff 8) is because “Oh, Zulfiqar” is performed only once at the last line. Consequently, the ascending movement of the melody at the beginning of Gabriel’s avaz (a staff 1) and specially the long G voice with numerous vibrations towards frequencies higher than F (a staff 1), justifies the belonging of cutting the beginning of the line to the one which includes addressing Imam Hussein (PBUH) as “apple of Zahra’s eyes”.

2. Imitation

Performing a single melody by several performers or singers alliteratively or consequently forms imitation. An example of it is well known in “Soltan Qeis” episode in Imam Hussein martyrdom Ta’zieh. Ta’zieh of Imam Hussein martyrdom was recorded in Studio No. 14 of the Islamic Republic of Iran Broadcasting (IRIB) on March 1, 1984. Sultan Qeis of India and his Minister were hunting on Ashura day when they were attacked by a lion. They immediately ask Imam Hussein to help them. Their request for help is, nevertheless, rejected as even though the lion is a wild animal, it should not be killed. The rejection of their request by Imam Hussein leads them to convert to Islam[ii].

Transcription No. 2

As mentioned earlier, the delay in alternative performance of the melody by Sultan Qeis, his Minister and Imam Hussein forms imitation or canon (Transcription No. 2, staff 2).

Sultan and his Minister’s final lines solely include the repetition of “Master Imam Hussein” (staff 2). The beginning of Imam’s line with “Oh, lion” coincides with this repetition and finally forms imitation or canon. Repetition of a single voice belongs to litany or “Oh, Hussein” prayer (Transcription 2, staff 2).

[i] Massoudieh, M. Taghi. Religious Music of Iran. Volume I, Ta’zieh Music. Soroush, Islamic Republic of Iran Publishing House, Tehran. Notation 152.

[ii] Massoudieh, M. Taghi. Ibid. p 75, p 97.

This entry was written by Mahboube Khalvati
Tagged: .

Nasser Masoudi: The Voice of Gilan and a Legacy of Iranian Music

In Iranian music, certain singers have become emblematic of their homelands through their distinctive voices. Historical figures such as Eghbal Sultan, who epitomized the grandeur of Azerbaijani music, and Taj Isfahani, who conveyed the authentic essence of Isfahan, serve as notable examples from the Qajar era. Nasser Masoudi occupies a similar position; his voice emerged as a symbol of Gilan while also achieving national acclaim. Before him, Master Ahmad Ashurpur represented Gilan’s musical landscape, but his extended residence outside Iran limited his continuous engagement in the music scene. In contrast, Masoudi’s consistent presence allowed him to introduce the voice of Gilan to audiences across Iran.

Farhad Poupel: The Voice of the Shahnameh in the Orchestras Around the World

In an era when almost no trace of contemporary Iranian music can be heard in international concert halls, except (so-called!) avant-garde works that owe their existence solely to the fashionable slogans of the “pseudo-intellectual” crowd who have seized the already meager resources for performing classical music from the true artists of the field, the numerous performances of Farhad Poupel’s works shine as a ray of hope for lovers of sincere musical art. Without resorting to trendy slogans, he has kept the flame of Iranian classical music alive purely through the power of his artistry.

Latest posts

From Past Days…

The 4th Iranian Festival of Music Websites and Weblogs

The 4th Iranian Festival of Music Websites and Weblogs was held in Niavaran Cultural Center, in Tehran, Iran on Feb. 28th, 2015. The initiator of the festival was Sajjad Pourghanad, Iranian music writer, researcher, founder of the festival and Persian setar and tar player.

Avaye Naerika Percussion Orchestra

Avaye Naerika Percussion Orchestra is an Iranian percussion orchestra featuring 40 lady percussionists. The Orchestra was established as Iran’s largest all-female percussion orchestra in 2008 by Ms. Minoo Rezaei under the title Naerika Percussion Orchestra and changed its name to Avaye Naerika in 2017.

Quality Decline in Regional Music Festivals

Regional music festivals are organized to, firstly, introduce the music of different regions and, secondly, to support its performers. Regional music festivals are held in large cities for various reasons, including the availability of financial and executive facilities and the presence of an audience. However, the organization of these festivals has always been one of the challenging issues of ethnomusicology. The reason is that the presence of regional music performers in large cities places them in a context other than the context they would normally perform in their homes; consequently this change in situation leads to changes in the quality of their performance.

A Miracle in the Iranian Music: About Tehran Flute Choir’s Eight-year Tenacity

Tehran Flute Choir is a 40-member orchestra of Iran’s best flutists; Iran’s best flutists? Yes! If you write down the names of the greatest Iranian flute players who participate at concerts and contribute to academic centers in Iran, you will see that most of them are among the choir’s members.

Iranian Fallacies – Composition and Arrangement

In the tradition of classical music, it is generally tried to use the same technical terms related to music in all countries. Even in the cultures in which native terms exist to refer to musical terms, usually the better known universal terms are employed.

The Structure of Kurdistan Daf (IV)

Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Daf Structure The Structure of Daf in different cities of Iran has a great variety in terms of dimensions, components and even appearance; some of which are as follows: – Square Daf, on which the skin was stretched either on one or both sides, with strings installed inside it…
Read More »

Layla Ramezan, Iranian Pianist

Iranian pianist Layla Ramezan has always sought to create a connection between her Persian origin and the contemporary music which she encounters daily. Sound, phrasing, a particular sense of rhythm and a refined understanding of the “time of musical development” are the foremost qualities of her interpretations. Her musical and pianistic education began in Tehran at the age of 8 with Mostafa-Kamal Poortorab. Having moved to Paris and received a scholarship from Albert Roussel Foundation, she integrated the classes of Jean Micault and Devi Erlih at the Ecole Normale de Musique de Paris Alfred Cortot, where she received a Diplôme de Virtuosité in piano performance and chamber music.

Ahmad Pejman Passed Away!

Composer and music teacher Ahmad Pejman (1935–2025) passed away on August 29 in Los Angeles, USA, after several weeks of illness. His most recent symphonic work performed in Iran was Land of the Brave (“Sarzameen-e Delavaran”), which was staged in 2017 with the Tehran Symphony Orchestra. According to the family’s decision, his body will be laid to rest in the United States.

The response of the fired musicians to the interview of the managing director of Rudaki Foundation

Following an interview by Mehdi Salem, the director of the Rudaki Foundation, with the “Our Music” website, a response from the dismissed musicians was published in response to this conversation, which you read: