Three singers in one larynx

sima-bina-444

This article was originally published in Honare Mousighi Monthly in issue No. 175.

Translated by Mahboube Khalvati

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. Coming from this background, Sima Bina started her career in the radio as a child and became the first serious promoter of folk music in the Iranian radio. Sima Bina was so much at the centre of attention that Davoud Pirnia launched “Golhaye Sahrai” (Flowers of the Desert) radio programmes based on her solo singing (avaz). The young Sima, however, did not confine herself to this success and studied Iranian dastgah music besides re-working Iranian folk music.
In the 1970s, in terms of signing style [1] , Sima Bina showed her abilities in singing in three different styles, namely, singing with symphony or chamber orchestras, with Iranian instrument orchestra when she performed folk music and in performing folk music she showed a very different character and avaz on the stage.

audio fileListen to parts of Sima Bina’s avaz accompanied by Mohamma Reza Lotfi’s tar in Chavosh 8 album.

Sima Bina is an exceptional singer in the sense that she can change her singing style and character depending on the song she is performing. Probably Maestero Mohammad Reza Shajarian can compete with her so long as in the handful of folk songs he has performed his style and character is widely different from those he has performed with Iranian instrument orchestras and large western instrument orchestras.

Sima Bina performed the folk songaudio file “Aziz beshin be kenarom”with Culture and Arts National Instruments Orchestra directed by Maestro Faramarz Payvar before she was even 25 years old. Her understanding of the folk song and her mastery of the music made her able to song with such a unique edition. The very same song can be the basis for sociological research on the hidden aspects of a strong rural woman’s character as depicted in Sima Bina’s performance of the song.

Yet, the Sima Bina who performed songs such asaudio file “Ba bolbol sheida” composed by Hassan Yousef Zamani and Javad Maroufi with Golha Orchestra reveals the character of a modern woman raised in the context of the classical culture. The change of the environment and music also transformed her singing style and edition [2] and depicts the proper ambiance for the audience.

Performing the repertoire of Iranian dastgah music with large western and Iranian instruments, Sima Bina reveals a partially different character and style influenced by the teachings of her dastgah music masters. Moreover, her singing style is less feminine and is characterized by more tahrir.
Sima Bina’s one-of-a-kind capability in singing in three different styles and singing editions lays in the fact that she always maintains a health voice in terms of the larynx anatomy and health.
Finally, I believe that observing the above-mentioned principles and having a good demeanor are the main reasons for Sima Bina’s ever-lasting presence for the public opinion and among musicians.

Footnotes:
[1] Singing style refers to the shape of vocal chords while singing which can be changed by the singer according to the form of avaz he/she sings.

[2] Edit or edition is a concept in the western classical music which refers to the personal edit of the musician, either instrumentalists or singers, which is characterized by glissandos, vibrations, nuances and so on.

Post a Comment

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

Prominent Iranian Musicologist Passes Away in Vienna

Khosrow Djafarzadeh, musicologist and architect, who was also one of the main authors of HarmonyTalk journal passed away on 15 July 2019.

Polyphony in Iranian Music (V)

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].

From Past Days…

National-Instruments-Orchestra

A Promising Concert by National Instruments Orchestra

The National Instruments Orchestra of Iran performed its first concert amid much hope and anxiety on July 18, 2015. The Orchestra is founded by Roudaki Cultural and Arts Foundation which is a semi-private foundation in Iran. The Arts Director for the National Instruments Orchestra of Iran is cand the Orchestra Executive Director is Sadjad Pourghand.

Hossein hosein Dehlavi

Hossein Dehlavi: the Composer

With Dehlavi it is not all about fame but recognition. Hossein Dehlavi is not a popular musician (like pop singers) whom everybody might know when he is walking on streets of Tehran; however, he is recognized by both amateur and distinguished musicians of the country.

malihe-saeedi-saidi-sadidy-190-1312052365

Qanun, a feminized instrument?

In the world music culture, there are instruments which were traditionally associated with a certain gender. It remains disputable to what extent these gender-based perceptions have been logical and scientific. For example, as playing wind instruments need more breath strength and the public opinion believe that men have stronger breath compared to women, these instruments are predominantly a male domain. Harp is also considered a female instrument as the public opinion believe that women have finer fingers and can therefore better perform nuances and delicate techniques on the instrument.

National Instruments Orchestra

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.

lip1

New Technique for Playing Classical Guitar (I)

Joint application of the two techniques of “Lip” and “Nose” could be effectively applied for hearing and playing far-away intervals, by the Classical Guitar. Before this, a Classical Guitar player had to waive playing intervals not possible with the left hand, and had to replace or eliminate some notes, making it possible to play such intervals; specifically the capability of the left hand of the musician, was also a factor in such a selection. These methods are hereby illustrated by photographs and a video-file, in order to provide optimum comprehension of applying these methods, invented by the author; specifically the “Lip” technique, which is considered to be a more significant technique, emphasized by the author.

haj-ghorban

Polyphony in Iranian Music (V)

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].

novin-orchestra-rooholah-khaleghi-l

Harmony in the Iranian Music (I)

Translated by Mahboube Khalvati The article you are about to read was written by Rouhollah Khaleqi (1906-1965), composer, and conductor of Golha Orchestra (established in 1956). Khaleqi was one of the most prominent promoters of polyphony for the Iranian music and is one of the best representatives of the school of Ali Naghi Vaziri. In…
Read More »

mirhadi-190

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.

mousighi-navahi

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.

z-4

Violin’s inner mold, an essential factor in developing the idea of violin

A part of the secrets of the masterpieces from the golden era lies in the special design of the instruments, as a result of a profound insight to and awareness of the significance of the precise calculation of the various components of the object of arts being created, such as making a violin or a bow.