Polyphony in Iranian Music (III)

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

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)

Transcription No.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)

Transcription No.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.

Post a Comment

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

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.

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.

From Past Days…

Rouhollah Khaleghi Artistic Center established in Washington DC

Golnoush Khaleghi (1941-2021), a Washington-based Persian musician and the daughter of the contemporary Persian (Iranian) composer and theoretician Rouhollah Khaleghi (1906-1965) founded a musical center called RKAC to keep the name and the work of her father alive.

Ennio Morricone’s music for Quentin Tarantino’s The Hateful Eight

After watching Quentin Tarantino’s latest movie, The Hateful Eight, everyone was excited by its novel music besides the beautiful scenes of blood and guts.
The Hateful Eight is the first collaboration between the world-famous film music composer, Ennio Morricone, and Quentin Tarantino as a famous director.

Principles of Violin Playing (II)

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

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.

The First Saba Student Music Festival Concluded in Tehran

Preparations for Saba Student Music Festival started in the summer of 2016; the Student Music Festival will be held annually by the students of music at Arts University. The first part of the closing ceremony of the Festival was dedicated to the celebration of the life, work and strives by Maestro Hossein Dehlavi to upgrade the level of music as an academic discipline. The name of the award-winning students and ensembles were announced at the second part of the ceremony.

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (1)

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets* Basic Ideas and General Structure The Enlightenment, an epoch of intellectual fervor marked by reason, individualism, and cultural evolution, indelibly left its imprint on the arts. Mozart, a luminary of this transformative era, intricately wove these ideals into his compositions, particularly his string quartets. This article…
Read More »

From the Last Instrumentalist to the First Composer (I)

Music as an art has its own special history; emergence of a singer, of an instrumentalist and then the emergence of the strong character of a composer covers three significant phases of the art of music. With the emergence of composer which was simultaneous with the emergence of the language of music, this art managed to offer a domain for criticism for its composer; a procedure which led to a magnificent variety and evolution in musical production. Even though the conflicts between singers and instrumentalists have not met their end in the Iranian society and while singers can achieve high, instrumentalists have yet to play behind curtains . In a special era, with the efforts of musicians such as Ali Naghi Vaziri (1887-1979) and Rouhollah Khaleghi (1906-1965), glimmers of a composing era started to glow bearing fruit in Khaleghi’s achievement as Iran’s first professional composer. Khaleghi made his reputation as a composer while Vaziri deserved to pioneer this path. By then Vaziri was well-known as a Tar player.

A note on “Illusion or Ingenuity” article

The author of the “Illusion or Ingenuity” article, who is apprehensive of the future of the Music in Iran, enumerates some symptoms of the music weakening in the country for example decreasing in the quality of the music as well as lack of the innovation in creating them, a gradual decline in the music public taste and the drop in the application of layered sound and polyphony in music. He explains that one reason for this gradual weakening might be our unawareness of the fact that we are not so intelligent nation. He believes that we, Iranians, have a comprehensive “Illusion of the high national intelligence “that make us ignorant of the unfavorable realities of our music and consequently no searching for the remedy is taking place. His point of view brings to the mind a patient who thinks he is healthy, therefore delays the treatment and finally is killed by the disease. The author also refers to the national difficulties which gradually will lower the national intelligence score such as the increased rate of the immigration and brain drain, low quality of the nutrition, incompetence of the education system and etc and predicts that the condition of the music of Iran might deteriorate in the future because of the mentioned illusion of its great status.

“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.

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.