Polyphony in Iranian Music (VI)

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

Translated by Mahboube Khalvati

Torqeh (Transcription No. 8)

Transcription No.8

Torqeh or jal is the same bird (Bimaculated lark) and is the name of a muqam which is well-known in Torbate Jam and those areas. Jal muqam is called Torqeh in Esfarayen and Bojnourd. This muqam which was used to be played by Bakhshis/Bagşies (dutar-players) in the past is seldom performed today. Torqeh muqam describes how torqeh flies in the sky. Torqeh soars so high in the sky that cannot be seen; however, it then flies back to earth but flies again to the sky. This variety of Torqeh flight is described in the music.

The famous Zanbil Baf Bakhshi performed Torqeh muqam (Transcription No.8).

Torqeh music is comprised of several repetitions of a cliché melodic figure. This figure is moved in different tonal music ambiences. Simultaneously with this movement, the drone also changes.

Movement of parallel drone or relocation of the melodic figure in different tonal ambiences forms the parallel coincidence of two voices. Torqeh muqam, due to metric-rhythmic symmetry has motorized mobility. Constant repetition of a cliché melodic figure on the one hand and metric-rhythmic symmetry, on the other hand, describes the monotony of torqeh’s flight[i].

This polyphonic instrumental form is also very popular in Turkmen music. Here only one example of it, Kach Falak is introduced.

 

Kach Falak (Transcription No. 9)

Transcription No.9

The melody in Kach Falak muqam, as explained in its title, narrates the sorrow of the doomed destiny and is, therefore, performed in “Ghorogh Lar” muqam.

In Turkmen music, muqams which have a sorrowful content or condition are performed in this dastgah[ii]. Kach Falak muqam (Transcription No.9) is performed by Temedera– dutar is called Temedera in Turkmen music.

 

The beginning figure (Transcription No. 9, a staff 1) appears in the piece as the linking part (inter-mode) in the form of melodic figures. Types of periods of staff 2 (b) either have determined metre or free metre; or have a determined metre at the beginning and a free metre at the end. Almost these entire types end with a concise cliché figure (staffs 3, 4, 7 8, 11-15). In Kach Falak (Transcription No. 9) like in Farangi Rezagholi (Transcription No.7), the second accompanying voice constantly follows the melody’s movement and forms the parallel sequence of two voices.

 

Additionally, we encounter another form of polyphony in Turkmen music, i.e. sequence or change of dual-combination of voices. Sequence or change of dual-combination of voices is usually performed at the beginning of the piece and is generally based on the change of drone. This change is not definitely based on any chord or harmonic sequence. Another popular polyphonic form in Turkmen music is ostinato. Usually, the figure which emerges as ostinato is introduced as an individual at the beginning[iii].

Polyphonic forms in Iranian music which were studied here were based on a selection of most prominent pieces of Iranian music. These forms are also observed in many Iranian avaz and instrumental pieces. Obviously, the study of more audio sources can lead to conclusions on the existence of other polyphonic forms with regard to polyphonic music in Iran.



[i] Massoudieh, M. Taghi; Der Begriff des maqam in der persischen Volksmusic: “Von der Vielfalt  musikalischer Kultur. Festschrift  für Josef Kuckertz”. Anif/Salzburg 1992, S. 311-334.

[ii] As mentioned by Tajvardi Peykar.

[iii] Massoudieh, M. Taghi. Turkmen Music (research in progress).

Post a Comment

Required fields are marked *
*
*
Your email is never shared.

 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.

Timeless or Timely: The Role of Historical Context in Defining Artistic Value

Imagine that, in the course of historical research, we discover a musical piece whose compositional techniques (including form, melody, texture, and orchestration) resemble those of a second-rate 19th-century composition. But further investigation reveals that this work predates that period by 200 years. Can we still deem it insignificant? Certainly not. Here, the first major role of historical judgment becomes evident.

From Past Days…

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.

Kayvan Mirhadi and O.R.P Qaurtet

Establishing O.R.P. Quartet is Kayvan Mirhadi’s latest activity as a guitarist, composer and conductor of Kamerata Orchestra. Besides working with this Quartet, Mirhadi is busy these days recording and mixing some of his own works as well as some pieces by 20th century composers. O.R.P Quartet performed a concert in Rasht, Gilan Province in late May 2016 and offered a master class.

Developments in Iranian Music Since Qajar Era (I)

At the end of the Qajar era and as Iran entered the power transition period, known as the constitutional era, the Iranian music went through a lot of changes. These changes gained momentum as the students and followers of Ali Naqi Vaziri’s entered the musical scene. These changes greatly influenced designs of instruments, playing methods, singing, composing, etc.

From the Last Instrumentalist to the First Composer (II)

Rouhollah Khaleghi was the master of composing beautiful melodies. He was the premier of the course of history which was first established by Ali Naghi Vaziri and which improved the Iranian music from simply a gathering music to the classical music of the country. First efforts to compose independent and instrumental music can be also traced in Khaleghi’s works.

From the Last Instrumentalist to the First Composer (I)

Music as an art has its own special history; emergence of a singer, of an instrumentalist and then the emergence of the strong character of a composer covers three significant phases of the art of music. With the emergence of composer which was simultaneous with the emergence of the language of music, this art managed to offer a domain for criticism for its composer; a procedure which led to a magnificent variety and evolution in musical production. Even though the conflicts between singers and instrumentalists have not met their end in the Iranian society and while singers can achieve high, instrumentalists have yet to play behind curtains . In a special era, with the efforts of musicians such as Ali Naghi Vaziri (1887-1979) and Rouhollah Khaleghi (1906-1965), glimmers of a composing era started to glow bearing fruit in Khaleghi’s achievement as Iran’s first professional composer. Khaleghi made his reputation as a composer while Vaziri deserved to pioneer this path. By then Vaziri was well-known as a Tar player.

Iannis Xenakis’ Persephassa

Shiraz Arts Festival which was held in Shiraz from 1967 to 1977 featured many contemporary renowned artists who were commissioned by the Iranian royalty to compose or create works of art for performance in the arts festival. Iannis Xenakis (1922-2001) participated in Shiraz Arts Festival three times in 1968, 1969 and 1971. The Greek-French composer,…
Read More »

Polyphony in Iranian Music (I)

Despite the fact that Iranian folk music (regional music of Iran), like the Radif of Iranian traditional music, is monophonic and follows heterophony in principal, we experience polyphonic forms, albeit, majorly unconscious.

Gholam Reza Khan Minbashian: a pioneer in Iranian music (II)

Gholamreza Khan Minbashian taught courses such as organology, orchestration of military music and harmony based on the books which were translated from French into Persian with the help of Aliakbar Mozayyan-o-Dolleh (1846-1932).

Illusion or Ingenuity?

Mohsen Renani in the preface of his book entitled “The Political Economy of nuclear conflict; an introduction to traversing the civilizations” writes:

Parviz Meshkatian’s Heart Beat for People (II)

As such, the young Meshkatian reached the position of a great maestro in the Iranian music. Up until 1997, Meshkatian remained prolific and composed many pieces which were characterized by progressiveness while drawing on the music of the past Iranian musicians. In some of Meshkatian’s works, one can trace the influence of maestros such as Faramarz Payvar; however, this influence is so balanced that one can neither say that Meshkatian is a progressive and deconstructionist composer nor does he use cliché forms in his compositions.