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…

Developments in Iranian Music Since Qajar Era (II)

Santour:
Nine-bridge and twelve-bridge Sanours were both used until the early Pahlavi dynasty. However, as Faramarz Payvar devised new methods for playing the nine-bridge Sanour, this variety of the instrument which was hammered by felted sticks became popular.

A Look at Ali Tajvidi’s Manifold Musical Activities (I)

Ali Tajvidi (1920 – 2004), one of the most prominent Iranian musicians, passed away sixteen years ago. He was one of the most distinguished Iranian artists. To specify one of the fields in which he was unique, one can refer to Tasnif composition. A brief review of his manifold musical activities is presented below.

Interview with the Makers of the New Qeychak (III)

In this project, my specialized responsibility was the basic drawings of the desired instrument with the help of engineering and mechanical software. I have also the carried out phases related to engineering designs, related variables, and volume and weight calculations under Mr. Ziaei’s direct supervision from the very beginning. Regarding the challenges of this work, suffice it to say that the set of designs for the instrument lasted more than 9 months in the final stage of the project only.

Polyphony in Iranian Music (VI)

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.

Principles of Playing Violin (V)

3/1/2/5: When the first finger lands next to the nut, continuation of first phalange of this finger, on back of the hand, should be in line with continuation of the back of the wrist and the left hand; moreover, it should not pass them and bend at knuckles. Otherwise, an uncommon stretch is created in first finger’s knuckle also reducing the freedom of other fingers (especially the fourth finger) in finger placement.

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.

Banan: the Artist of the Age

Gholam Hossein Banan was born in 1911 in Tehran. He was born in an affluent art-loving family who were Naser al-Din Shah Qajar (1848-1896)’s relative. The Qajar King was his mother’s uncle on her father’s side. He learnt his first lessons in music while his father sang Iranian avaz (improvised rhythmic-free singing), he then attended classes by the renowned Iranian composer, Morteza Neydavoud (1900-1990) along with his sisters; the composer is, therefore, considered as his first teacher. He then learnt Iranian avaz under the supervision of Mirza Taher Zia Resaee (Zia-o Zakerin) and Naser Seif in an oral manner.

“The Art of Silence” Project Will be Released

Shaahin Mohajeri, the award-winning Iranian microtonal compose, has contributed to The Art of Silence is an international project which features unpublished pieces by microtonal composers from Iran, Japan, the United States, and other countries.

Persian Music: “Mahour the Great” in Austria

In 1990 an Austria-based Persian musician Khosro Soltani, in cooperation with Hossein Alizadeh, put out an album entitled, Ancient Call A New (Nobang-e Kohan). After many years, a few ancient Persian instruments such as Sorna, Karna, Naghareh,etc. have been used, instruments which have been left out of the circle of Persian classical musical instruments for centuries.

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (3)

Wolfgang Amadeus Mozart, a musical prodigy of the Classical era, was deeply influenced by the intellectual currents of the Enlightenment. His exposure to Enlightenment ideas was multifaceted, shaped not only by the cultural milieu of his time but also by the relationships within his family and his own interactions with prominent figures of the Enlightenment. This exploration will delve into Mozart’s acquaintance with Enlightenment ideas through his father’s relationships and his own encounters with influential personalities of the era, including Christian Fürchtegott Gellert, Baron Melchior Grimm, Madame d’Epinay, and Joseph von Sonnenfels. Additionally, the essay will examine the impact of Joseph II’s reforms on Mozart’s life and artistic endeavors.