Polyphony in Iranian Music (III)

1 January 2019 – 12:20 pm Posted in Articles' List, Contemporary Music, Criticism, Instrument & Playing

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

Translated by Mahboube Khalvati

3. Heterophonic Variant

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.

Transcription No.3

The Ta’zieh ceremony of Imam Hussein’s martyrdom ends with the performance of two trumpets accompanied by a small and a large drum (Transcription No.3). The coincidence of different voices, resulted from the change in the single melody with first and second trumpets, especially on lines 5 and 6 (Transcription 3) is clearly obvious. The second trumpet performs the melody performed by the first trumpet with a delay and slightly changes it. Consequently, various voices resulted from heterophonic variant coincide with each other (Transcription 3, d staff 5, a2 staff 6).

Polyphonic forms exist not only in the music of Ta’zieh ceremony but also in the music of Iran’s regions: In Baluchistan, one of the songs for wedding ceremonies is called “Laroo.” The song is usually sung after the bridegroom’s bath when he is going his seat.
Additionally, “Laroo” is also sung on the sixth evening after the child delivery; hence, it is also called “sextuple”. The reason for such a title “Laroo” for the song is the refrain consisting of meaningless syllables “laroo li laroo laroo.”

Arman Gol Are (Transcription 4)

Translation of the text: laroo, laroo, Arman Gol Are take off your scarf. Kuwaiti scarf. Maybe he does not want it. Take off your scarf [5].

Arman Gol Are avaz is sung by both the soloist and the choir; that is to say that it is offered in responsorial form. In this case, two different voices coincide in the fifth and third intervals (Transcription 4, staves 2, 5, 7) because the soloist has not finished the paragraph when the choir begins singing the next paragraph. Each avaz paragraph consists of a period, which in turn, consists of four melodic figures (a+b+c+d, staff 2).
Out of these four figures, the first and the third figures are almost identical (a and c). This is while the second figure (b) seems contradictory to others. The last figure (d) only consists of the repetition of final note “la”.

Veŝ Tavaré Na (Transcription 5)

Translation of the text: Li laroo, laroo. The bridegroom’s shoes make a beautiful sound. Mr. [bridegroom]’s shoes make a beautiful sound. Mr. [bridegroom] is sitting to [start] a wonderful life. Mr. [bridegroom] is sitting [6].

__________________________

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

[6] Massoudieh, M. Taghi. Hochzeitslieder aus Balucestan. “Jahrbuch für musikalische Volks – und Völkerkunde, Bd. 7, 1973. S 58-69.”

Also: Massoudieh, M. Taghi. Principles of Ethnomusicology, ibid. pp 128-129.

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…

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.

A year without Mohsen Ghanebasiri

The year 1396 (21 March 2017-20 March 2018) was the most sorrowful year for HarmonyTalk journal. One month after holding HarmonyTalk’s 13th establishment anniversary in Mohsen Ghanebasiri’s house in Tehran in April 2017, he untimely passed away. Mohsen Ghanebasiri was the prominent HarmonyTalk author.

Homayoun Rahimian & Iran’s National Orchestra

The Roudaki Foundation presented the permanent conductor of the National Orchestra (Orchestr Melli), Homayoun Rahimian, in a ceremony, and finally, after four years, the national orchestra found a permanent conductor. Homayoun Rahimian is the fourth permanent conductor of this orchestra after Farhad Fakhreddini, Bardia Kiaras, and Fereidoun Shahbaziyan. He, who has previously had experience of conducting concerts besides being Meister’s concert of this orchestra, performed the concert “Autumns” on the 20th of Tir, performing works by Rouhollah Khaleqi, Javad Ma’roufi, and Hossein 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.

Interview with Farhad Poupel (I)

Born in Isfahan, Iran, and based in the UK, Farhad Poupel’s music has been performed and will be performed in numerous prestigious concert halls and festivals throughout the world including Suntory Hall in Tokyo, Japan; La Roque-d’Anthéron Piano Festival, La Roque-d’Anthéron, France; Biarritz Festival, Biarritz, France; Stoller Hall, Manchester, UK; Janacek academy of music and performing art, Brno, Czech Republic; Karlskrona International Piano Festival, Karlskrona, Sweden; by distinguished artists such as Kotaro Fukuma, Peter Jablonski, Daniel Grimwood, Margaret Fingerhut, Catherine Carby, Kristýna Znamenáčková,Jeffrey Biegel, Jean-Francois Bouvery and orchestras such as Windsor Symphony Orchestra or broadcasted on the NPR Radio 4, Netherland. The following is an interview with him on the ocaasion of the premier of the Legend of Bijan and Manijeh.

Call for papers SIMF 1396

The Association of Iranian Contemporary Music Composers (ACIMC) and SHAHREAFTAB Art & Cultural Association are pleased to announce a call for papers for SIMF 1396.

Simorgh Criticised

Simorgh (Simorq) Orchestra was founded by the renowned Iranian composer, Hamid Motebassem, in 2011. Simorgh Orchestra is the largest orchestra featuring Iranian national instruments. Although the orchestra established by Master Hossein Dehlavi, the great Iranian composer, in 1993 was larger than Simorgh Orchestra, it only featured the Iranian plucked string instruments unlike the latter one. The first album which was recorded by the Orchestra, conducted under Motebassem’s baton, was his Simorq based on Zal story from Shahnameh by Ferdowsi, the great Iranian poet.

Principles of Violin Playing (III)

Violin players should always pay attention to the proper position of the left thumb and other points related to it and to its joining point to the palm.

Hassan Kassai, Ney Virtuoso

The name of Maestro Hassan Kassai is so vehemently intertwined with Ney (Persian reed flute) that one cannot imagine one without the other immediately coming into mind. Ney is one of the instruments which went through a lot of ups and downs in the history of the Iranian music since the time of Sassanid kings to the time when shepherds found playing it consoling when they took their cattle for grazing. However, Nay could never demonstrate its main capacities to gain a stable position among the musicians and the people like other instruments including Oud, Tar, Santour, all sorts of bowed string instruments and plucked string instruments.

Iranian Fallacies – Global Performance

One of the most important criteria for measuring the quality of a piece of classical music is number of times the piece has been performance by different ensembles and orchestras in different eras. This belief has become so pervasive in some societies, such as Iranian society, that it is considered the only criterion for measuring the quality of a piece of classical music.