Polyphony in Iranian Music (V)

1 July 2019 – 2:29 pm Posted in Articles' List, Contemporary Music, Criticism, General Information, Instrument & Playing

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

Translated by Mahboube Khalvati

In addition to the above-mentioned, polyphony can be also formed when a melody is performed by several singers in different ambiances or different sound registers according to their physiologic abilities. An example of this has been performed in rituals of Khanqah of Ghaderi darawish of Mahabad [i]. Khanqah ritual of Ghaderi darwaish is constantly accompanied by dance and avaz. Constant repetition of a melody or motif leads to the monotony of dance movements and consequently leads to ecstasy or comma. This constant monotonous repetition can be compared to hypnosis. Ecstasy and comma based on this are metaphysical status and are considered as a border between life and death [ii]. Probably for the same reason, in Ghaderieh Khanqah in Sanandaj, extraordinary and agonizing acts such as thrusting a blade or dirk inside body organs is considered a joyful act. Therefore, ecstasy happens with anesthesia in a way that the dancer passes out on the floor at the end of the dance; and, consequently, his return to the material world features a scream [iii].

The polyphonic forms which were introduced occur unconsciously. On the contrary, there are some polyphonic forms in Iranian music that happen intentionally. These examples are mostly instrumental and are usually performed by dutar. Below an excerpt of these polyphonic forms are presented:

Farangi Rezagholi (Transcription No.7)

One of the popular muqams in Lorestan music is Farangi Rezagholi (Transcription No.7). The reason it is called farangi is that the melody is adopted from foreign music and “Rezagholi” is the name of the narrator of the muqam or an individual after whose name the muqah’s name is adopted [iv]. In Lorestan, dutar is called Tamireh. Imam Gholi Imami, Lorestan’s well-known tamireh player, performed Farangi Rezagholi (Transcription No.7).

Melodic figures of Farangi Rezagholi muqam is accompanied by a second voice like the voice of drone. The drone constantly follows the ascending and descending movement of the melody. Relocation of drone in this manner shapes a type of parallelism or a duet sequence. Farangi Rezagholi muqam consists of three melodic figures (Transcription No. 7, a + b + c staffs 1, 6, 14). Out these three figures, only the first one (a) experiences the most drastic change. Sequence of two voices due to sequence or relocation of drone exists in all Lorestan’s musical muqams including “Farangikhan-e Mirza”, “Male Jiri” and also “Avazen Be Poova Mouri”. Here only one example is introduced.

A parallel coincidence of two voices as a result of the relocation of drone also exists in instrumental pieces in Khorasan and Torkaman music. Here two examples are introduced; one is “Torqeh” belonging to North and Northwestern Khorasan and the other one is “Kach Falak” belonging to Turkmen music.

[i] Recorded from Iranian Culture TV on 15/12/1975.

[ii] Bose, Fritz; Musik und Musiker in auBereuropäischen Kulturen: “Humanismus un Technik 14, Heft 1, 1970, S. 1-8.

[iii] Recorded by the author in rituals of Ghaderieh Daravish Khanqah in Sanandaj conducted by Tofiq Moghadam.

[iv] As mentioned by Hamid Izadpanah.

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…

“Guitar Memories” Released

The album “Guitar Memories” consists of the performance of baroque to recent era masterpieces, by Mehrdad Mahdavi, and is published by Tanin-e Honar Publication.

In this album there are pieces composed and arranged by artists such as: Sylvius Leopold Weiss, Johann Anton Logy, Fernando Sor, Yuquijiro Yocoh, Leo Brouwer.

Principles of Violin Playing (X)

Creating sound continuity between two notes in the source and destination positions when left hand position changes and “two different finger numbers” are involved is called portamento. Portamento can be performed on single string or two neighboring strings and with hand moving on fingerboard either upward or downward.

A brief examination of Ardavan Kamkar’s Santour playing style

I still think of those fish in a crystal bowl for the Haft sin table and those disappointed old men who went out to sell blackfish.

Journey to Iran Revisited: Celebrating 20 Years of Guity Adjoodani’s Return to Persian Roots

This year marks the 20th anniversary of “Journey to Iran,” an album by Iranian pianist Guity Adjoodani that has resonated with audiences worldwide. Released two decades ago, this album is a beautiful tapestry of twenty Persian folk songs, each carefully selected from the rich musical traditions of various regions in Iran. It also features four notable compositions by the esteemed Javad Maroufi (1915-1992): “Prelude,” “Jila Fantasia,” “Golden Dreams” (Khaab-haa-ye Talaayi), and “Isfahan Rhapsody.” Additionally, the album includes the beloved song “Kiss Me” (Maraa Bebous) by Majid Vafadar (1912-1975), adding depth to an already impressive collection.

Three singers in one larynx

Sima Bina (b. 1945) is a unique singer among the singers of Golha radio programmes which were broadcast on Iranian National Radio for 23 years from 1956 to 1979. She received her first lessons in music from her father who was a poet, a musician and the most important supporter of Sima’s cultural activities.

A Persian Nocturne for Piano

A Night in a Persian Garden is the name of a Nocturne composed by the Persian (Iranian) contemporary composer Behzad Ranjbaran. This Nocturne, published recently by the Theodore Presser Company in the US, was performed for the first time in 2002 in New York City by the young Persian pianist Soheil Nasseri and has enjoyed many performances by other pianists.

The Structure of Kurdistan Daf (VI)

Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Hooks and attached rings: The junction of the ring to the arch is about 3 centimeters from the skin. The ring with its side rings should be as far as the diameter of a ring (about one and a half to one and eight centimeters) to make a proper…
Read More »

Polyphony in Iranian Music (II)

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

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.

Rare documents of Tehran Opera Company published in Europe

The year 2020 marks the 10th anniversary of Evlin Baghcheban’s death. She played a crucial role to promote opera and choral music in Persia (Iran). Born to an Assyrian-French family in Turkey, she studied singing and piano at the Ankara State Conservatory. In 1950 Evlin married the Persian composer and fellow student Samin Baghcheban and moved to Tehran.