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…

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.

Principles of Violin Playing (II)

Since for playing violin, it’s necessary that the playerâ€™s palms and fingers be inclined toward the fingerboard, therefore, the player, while bringing up his hand, should turn it toward the fingerboard.

Mohammad Esmaili passes away

Master Mohammad Ismaili, a prominent musician and renowned tombak player, passed away on August 13, 2023, after battling an illness in the ICU of Rasoul Akram Hospital. His funeral will take place on Thursday, August 17, at 10 am in front of Vahdat Hall, and he will be laid to rest in the Artists’ Section of Behesht Zahra Cemetery.

The Structure of Kurdistan Daf (V)

ehrouz Mohammadi, “Daf and its feasts in Ghaderieh’s Tekyeh” mentions that the outer thickness of arch where studs are located, [is] between one to one and a half centimeters (Mohammadi, 2001: 12). The thickness of arch should be gradually reduced from the installation place of rings to skin (Avazeh of Daf) to create a high volume, clear sound from Daf; also, the connection of arch to skin should not be less than one millimeter, because in this case the skin will be torn due to the sharpness of the wood (Mogharab Samadi, 2009: 79-78). The thickness of wood on the skin side is about two to three millimeters (Tohidi, 2002: 79).

Motherland Orchestra Broke the Spell of the Covid-19 Restrictions

The Motherland Orchestra staged the first concert since the outbreak of the pandemic under the baton of Nezhat Amiri. The orchestra went on stage on December 23-24, 2021 in memory of Rouhollah Khaleghi and Golnoush Khaleghi at Vahdat Hall, Tehran, Iran. Since the pandemic outbreak, concerts were held online and restrictions were imposed on in-person concerts.

Five Major Myths About Mozart’s Life

Wolfgang Amadeus Mozart, the renowned Austrian composer, is undoubtedly one of the greatest geniuses in the history of classical music. However, his life is surrounded by numerous myths and legends, some of which are not based on facts. This article explores five of the most common misconceptions about Mozart’s life.

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.

Polyphony in Iranian Music (III)

In heterophonic variant, two performers perform a single melody simultaneously and change it. Performing and changing a single melody simultaneously by two performers leads to the coincidence of different voices.

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.

The Legacy of Khosrow Jafarzadeh

This year marks the fifth anniversary of the passing of Khosrow Jafarzadeh (Khosrow Djafar-Zadeh), a distinguished architect and pioneering researcher of Iranian music, whose contributions to the magazine “Harmony Talk” have left an indelible mark on the field. The absence of this remarkable individual has significantly impacted the expansion and advancement of his theories, which are heralded as some of the most progressive in the history of Iranian music