Polyphony in Iranian Music (I)

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

Translated by Mahboube Khalvati

Abstract

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. Based on the scope of the current research, these polyphonic forms are the followings:
1. The coincidence of different voices due to the alternative performance of a melody by two singers in a way that the second singer starts his Avaz before the first singer finishes singing the melody
2. Imitation due to delayed and alternative performance of a melody by several singers or performers
3. Variants of a single melody is performed by two performers (heterophonic variants)
4. Exchange of Avaz between soloist and the chorus (solo Avaz and choral Avaz) (responsorial form) or chorus and chorus (antiphoner form) leads to a coincidence of different voices as the chorus begins the next paragraph before the end of the lyric paragraph by soloist or chorus
5. Polyphony as a result of the performance of a melody by several singers in a way that each singer performs the melody based on the vocal register corresponding to his physiologic capacities
6. Accompaniment of the first voice by alternate changes to vakhan, or following ascending or descending melody in playing Timreh (Lorestan province), Dotar (Khorasan province) and Temedenra (Turkmen) leads to the conscious parallelism of two voices.
Radif of Iranian traditional and folk music, like the music of other Middle East countries, is monophonic and majorly heterophonic; meaning that a single melody is offered by two or a few performers which then changes. The change of a single melody by two or more performers or by the singer and instrumentalist, sometimes lead to the coincidence of two different voices. Coincidence or combination of two different voices in this manner is a result of heterophony and these two voices never develop a harmonic or chord relation. The coincidence of two voices or polyphonic combinations in heterophony are not predictable, moreover, due to the abstract performance of the melody by two performers, it occurs accidentally; therefore, it is not considered as polyphony (1). However, despite the dominance of heterophony in the Radif of Iranian traditional and fold music, we encounter polyphonic forms – albeit majorly unconscious.
Polyphonic forms in Iranian music, which are studied in the present study, are based on the author’s researches on Iranian music especially Iranian folk music to the present. Almost all notations of the pieces under study are included in the author’s all publications.

Footnote:

(1)  For a definition of heterophony see:

Massoudieh, M. Taghi. Principles of Ethnomusicology, Comparative Musicology. Soroush, Islamic Republic of Iran Publishing House, Tehran,  1986, 139-141.

 

Post a Comment

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

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (4)

Mozart’s compositions bear the imprint of Enlightenment ideals in various ways. His music exhibits a balance between reason and emotion, mirroring the Enlightenment’s call for a harmonious integration of these elements in human life. The clarity of Mozart’s formal structures in his symphonies and operas reflects Enlightenment principles of order and rational organization.

Fereydoun Shahbazian, An Iranian Musical Icon Passed Away

Fereydoun Shahbazian, the renowned Iranian composer, passed away at the age of 82 due to respiratory illness in Tehran. His last significant activity was leading the National Orchestra before the appointment of Homayoun Rahimian

From Past Days…

Davoud Pirnia (1900 - 1971)

About Davoud Pirnia, the founder of “Golha” radio program

Davoud Pirnia, writer and musicologist was the founder of “Golha” (Flowers of Persian Song and Music) programs on Tehran Radio (1956-1966). He received his early education from his father, Hassan Pirnia (Moshir al-Douleh), and several tutors of the time (Taraghi, interview, July 1989) and continued his studies at Saint Louis School in Tehran and then in Switzerland and graduated in law. While studying law, Pirnia got acquainted with European classical music. Upon returning to Iran, he was employed by the Ministry of Justice and founded the Lawyers’ Guild. Then he was transferred to the Ministry of Finance and established the Department of Statistics in this ministry. Later, he became the head of the state inspection office at the Prime Ministry; he was, then, promoted to the position of the Deputy Prime Minister (Navab Safa, interview, August 1999)

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.

Farhad Poupel’s piece, Road to Bach, performed at Suntory Hall

On June 19, 2021 , young Iranian composer and pianist, Farhad Poupel’s piece, Road to Bach, was performed at the prestigious Suntory Hall by the great Japanese pianist, Kotaro Fukuma. The piece was commissioned by Kotaro Fukuma to have its world premiere in Suntory Hall during a concert by the same name.

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 »

Principles of Playing Violin (VI)

B. applying force: the force needed for putting finger on finger board is applied through finger tips and using the rest of hand set especially wrist is not allowed. To practice this, it is possible to hold violin without the bow and throw the fingers on the finger board from 1-2cm distance; apply force only through finger tips.

Behzad Abdi’s opera Rumi was physically released by Naxos

Composing a traditional Iranian opera using the Iranian modal system, dastgāh, has always been my dream. I first approached this by composing an opera called Ashura followed by the operas Rumi and Hafez. I believe that in order to attract an international audience for Iranian opera, it is essential to fuse dastgāh with Western classical forms.

“I Will Never Perform Just for Women!”: Golnoush Khaleghi Passes Away in Exile

Golnoush Khaleghi, first Persian woman conductor and daughter of legendary composer Rouhollah Khaleghi, passed away on February 14. She was 80. Golnoush Khaleghi was the conductor of the NIRT (National Iranian Radio & Television) Choir in the 1970s. Shortly after the 1979 Islamic Revolution Ms. Khaleghi moved to the United States and founded the Rouhollah…
Read More »

Last Year under the Light of Music

Almost three months into the new Iranian year (starting March 21), it is still not too late to have a look at the last year and the challenges that the musicians faced. The following article was published on the first day of the New Year in the Persian edition of the HarmonyTalk journal.

Interview with Farhad Poupel (II)

Fantasia on One Note was my first professional work for piano, which had its world premiere by the great pianist Peter Jablonski in Sweden, and it has been performed by various pianists in the UK, Germany, France, and the Czech Republic. The recording of this work has also been broadcast on the Dutch public radio, NPR Radio 4.

Loss of Development in Iranian Music

The mention by music instructors, academicians, students, and music enthusiasts about the lack of development in Iranian music is a topic that has been repeatedly heard, resulting in a superficial understanding and misinterpretation of Iranian music, which has been conveyed to students of the arts. This short essay aims to critique and examine this claim.