Polyphony in Iranian Music (IV)

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;

Post a Comment

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

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

Whose dream?! Whose reality?!

(A review of the “So Faraway” album; Tar and Tonbak duet; Siavash Imani, Pedram Khavarzmini)

From Past Days…

Farshad Sanjari, Forgotten Iranian Conductor Met His Tragic End

Farshad Sanjari, one of the most renowned Iranian conductors in the 1970s in Iran died after fire broke in his apartment in Vienna on November 22, 2019. Farshad Sanjari was not involved in politics; however, he was one of the victims of the Iranian Islamic Revolution in 1979. After the victory of the Islamic Revolution, his name was never seen as the conductor of any programmes.

Whose dream?! Whose reality?!

(A review of the “So Faraway” album; Tar and Tonbak duet; Siavash Imani, Pedram Khavarzmini)

The Structure of Kurdistan Daf (I)

Today, percussion instruments have such a high place in music that are an essential element of orchestras. This has attracted many people to this type of instrument with roots as old as the first humans. A historical study of music, shows that humans used the sound of these instruments to defend themselves against wild animals and, over time, for alerting each other, signaling their readiness and encouraging people for war, ritual ceremonies, dances, etc. in a manner that is still clearly visible in music and some ritual ceremonies.

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

Tajvidi thought of studying harmony and orchestration with Houshang Ostvar (who was eight years younger than him) at a time when he had gained a reputation among musicians. His humbleness, making him willing to kneel before the scholars at any age and position, became the key to his scientific success. After this period, Tajvidi made some of his works polyphonic, the most prominent of which is “Burn” set to a poem by Abdullah Ulfat. However, his ability to make his works polyphonic was not so great to make him self-sufficient; so he depended on musicians such as Farhad Fakhreddini, Fereydoun Naseri, Kambiz Roshanravan, Fereydoun Shahbazian and Morteza Hananeh for the arrangement of his compositions.

Lilly Afshar, Iranian Guitar Legend, passed away

The text you are reading is about Hamed Fathi, a guitarist and one of Lilly Afshar’s students, which was previously published on the Persian website HarmonyTalk.com:

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.

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).

A few steps on the “Road to Bach”

The world of music has unparalleled respect for Bach. Bach is considered the spiritual father of classical music; Bach’s great position is due not only to his great achievements in the fields of harmony, counterpoint, and compositional sciences but also to his respect for and adherence to the artistic principles of classical music. In the history of classical music, it is recorded that Bach walked about fifty kilometers to listen to the music played by the great German organist Dieterich Buxtehude, and this is the path that every idealistic classical music student should walk.

Ali Rahbari’s collaboration with Naxos as a Composer

Concertino for Violin and Orchestra entitled Nohe Khan was composed by Ali (Alexander) Rahbari while he was studying music in Vienna in 1972. This piece was composed having in mind the Ashoura events and inspired by the music which is used during the Ashoura ceremonies. The piece was first performed and recorded by Bijan Khadem…
Read More »

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.