Polyphony in Iranian Music (IV)

1 February 2019 – 9:15 pm Posted in Articles' List, Contemporary Music, Criticism, General Information, 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

Two choirs alternatively perform Veŝ Tavaré Na avaz (Transcription 5). The second group starts the avaz before the first group finishes it; consequently, two different voices coincide (Transcription 5, staves 2 and 5).

In this case, also, each period consists of four melodic figures (Transcription 5, a + b + c + a staff 1).

The final figure (d, staff 1) solely repeats the last sound “la”.

With regard to the last two Avazes (Arman Gol Are and Veŝ Tavaré Na, transcription 4 and 5) it is worth reviewing two theories about the evolution of polyphonic forms.

The first theory belongs to Fritz Bose[i] who believed that polyphonic forms have developed through three old forms in the alternative change of avaz between soloist and choir. These three forms are introduced below:

  1. Choir repeats the whole lyric performed by the soloist
  2. Choir only performs the refrain.
  3. Half of the lyric is performed by the soloist and the other half is performed by the choir alternatively.

The coincidence of different voices due to these three old ways in the alternative change of avaz has led to the development of polyphonic forms. And drone and even ostinato have developed out of these three forms[ii].

The second theory by Marius Schneider argues that the evolution of polyphonic music is a result of heterophonic changes through the performance of a melody by several singers[iii]. This theory is rejected today. With regard to the emergence of polyphonic music, other theories are offered as well[iv].

In regard to drone, the song of Bahraini divers– despite its relation to the music of Iranian southern coasts – is studied below.

Fishing time in Bahrain is limited to two periods of the bigger dive and the cold dive. The former spans over mid-June to mid-October; while, the latter spans before this period. Anglers include navigator, divers, assistants to divers and cormorant[v].

 

Transcription No.6

Transcription No.6


[i] Bose, Fritz; Musikalische Völkerkunde. Freiburg i. Br., Atlantis. 1953 S. 68. 69. 88. 89.

[ii] Ibid.

 

[iii] Schneider, Marius: Geschichte der Mehrstimmigkeit. Tutzing, 1969, S 43, 32, 51, 93, 94.

[iv] Massoudieh, M. Taghi. Principles of Ethnomusicology, ibid. pp 124-129

[v] Olsen, Poul Rovsing; EPL 4177.

Interpretation;

This entry was written by Mahboube Khalvati
Tagged: .

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.

Latest posts

From Past Days…

Polyphony in Iranian Music (II)

With regard to each polyphonic form, only one specific and distinguished example is analyzed. These polyphonic forms are as follows:

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 (IV)

Two choirs alternatively perform Veŝ Tavaré Na avaz (Transcription 5). The second group starts the avaz before the first group finishes it; consequently, two different voices coincide (Transcription 5, staves 2 and 5).

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.

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.

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.

Ruggero Chiesa’s Legacy

Written by Peyman Shirali Translated by Mahta Mottaghi Since many years ago, I had the intention of writing an article on the Italian maestro Ruggero Chiesa and his musical life; but his ingenuity and the immense legacy, which is impressive for not only me, but also almost everyone who knows him properly, made it hard for me…
Read More »

Parviz Meshkatian’s Heart Beat for People (I)

Amidst the popularity of traditionalism in the Iranian music, Parviz Meshkatian (1955- 2009) moved from Neyshabur to Tehran. He learnt to play Santour and became educated in the Radif of Iranian music at the Centre for Preservation and Promotion of Music which was at the forefront of promoting the return to musical traditions. Despite his studies at a centre which promoted the use of the phrase “traditional music” in Iran, Parviz Meshkatian emerged as a creative artist whose innovative and unique ideas attracted the admiration of Iranian artists and people from different walks of life. This article studies the reason behind Meshkatian’s deviation from the wrong approach of traditionalism strongly promoted by the Centre and argues that apart from the issue of theory of Iranian music, he can be considered as Ali Naqi Vaziri’s successor.

Parviz Meshkatian’s Heart Beat for People (II)

As such, the young Meshkatian reached the position of a great maestro in the Iranian music. Up until 1997, Meshkatian remained prolific and composed many pieces which were characterized by progressiveness while drawing on the music of the past Iranian musicians. In some of Meshkatian’s works, one can trace the influence of maestros such as Faramarz Payvar; however, this influence is so balanced that one can neither say that Meshkatian is a progressive and deconstructionist composer nor does he use cliché forms in his compositions.

Henry Cowell: “Persian Set”

Persian Set: Four Movements for chamber orchestra: Moderato; Allegretto; Lento; Rondo

Henry Cowell, one of the most innovative American composers of the 20th century, was born in 1897. Cowell and his wife visited Iran in 1956 and stayed there the whole winter, upon the invitation by the Iranian Royal Family, when he composed his album “Persian Set” in four movements for chamber orchestra. His composition is expressive of the characteristic quality of the Persian or the Iranian music.