Polyphony in Iranian Music (V)

1 July 2019 – 2:29 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

In addition to the above-mentioned, polyphony can be also formed when a melody is performed by several singers in different ambiances or different sound registers according to their physiologic abilities. An example of this has been performed in rituals of Khanqah of Ghaderi darawish of Mahabad [i]. Khanqah ritual of Ghaderi darwaish is constantly accompanied by dance and avaz. Constant repetition of a melody or motif leads to the monotony of dance movements and consequently leads to ecstasy or comma. This constant monotonous repetition can be compared to hypnosis. Ecstasy and comma based on this are metaphysical status and are considered as a border between life and death [ii]. Probably for the same reason, in Ghaderieh Khanqah in Sanandaj, extraordinary and agonizing acts such as thrusting a blade or dirk inside body organs is considered a joyful act. Therefore, ecstasy happens with anesthesia in a way that the dancer passes out on the floor at the end of the dance; and, consequently, his return to the material world features a scream [iii].

The polyphonic forms which were introduced occur unconsciously. On the contrary, there are some polyphonic forms in Iranian music that happen intentionally. These examples are mostly instrumental and are usually performed by dutar. Below an excerpt of these polyphonic forms are presented:

Farangi Rezagholi (Transcription No.7)

One of the popular muqams in Lorestan music is Farangi Rezagholi (Transcription No.7). The reason it is called farangi is that the melody is adopted from foreign music and “Rezagholi” is the name of the narrator of the muqam or an individual after whose name the muqah’s name is adopted [iv]. In Lorestan, dutar is called Tamireh. Imam Gholi Imami, Lorestan’s well-known tamireh player, performed Farangi Rezagholi (Transcription No.7).

Melodic figures of Farangi Rezagholi muqam is accompanied by a second voice like the voice of drone. The drone constantly follows the ascending and descending movement of the melody. Relocation of drone in this manner shapes a type of parallelism or a duet sequence. Farangi Rezagholi muqam consists of three melodic figures (Transcription No. 7, a + b + c staffs 1, 6, 14). Out these three figures, only the first one (a) experiences the most drastic change. Sequence of two voices due to sequence or relocation of drone exists in all Lorestan’s musical muqams including “Farangikhan-e Mirza”, “Male Jiri” and also “Avazen Be Poova Mouri”. Here only one example is introduced.

A parallel coincidence of two voices as a result of the relocation of drone also exists in instrumental pieces in Khorasan and Torkaman music. Here two examples are introduced; one is “Torqeh” belonging to North and Northwestern Khorasan and the other one is “Kach Falak” belonging to Turkmen music.

[i] Recorded from Iranian Culture TV on 15/12/1975.

[ii] Bose, Fritz; Musik und Musiker in auBereuropäischen Kulturen: “Humanismus un Technik 14, Heft 1, 1970, S. 1-8.

[iii] Recorded by the author in rituals of Ghaderieh Daravish Khanqah in Sanandaj conducted by Tofiq Moghadam.

[iv] As mentioned by Hamid Izadpanah.

This entry was written by Mahboube Khalvati
Tagged: .

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…

Maestro Hassan Nahid’s Role in Promoting the Ney

Maestro Hassan Nahid is one of the most prominent and distinctive artists who values high morals, discipline and hard work. His music activities include playing the Ney as both soloist and an accompaniment in the most important Iranian music orchestras and ensembles during the last fifty years, including the Orchestra of Iranian Instruments (Nusratullah Golpayegani), the Orchestra of National Instrumentalists of the Ministry of Culture and Arts (Payvar Orchestra), the Orchestra of Iranian Instruments (Morteza Hananeh) , Darvish Orchestra, Samaie Orchestra, Roudaki Orchestra, Maestros’ Ensemble, Aref Ensemble, as well as performances in various radio programs, many concerts in different countries, as well as a long teaching experience in the National Conservatory of Music, music universities and other music institutions to name but a few.

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 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.

The Structure of Kurdistan Daf (VII)

Conclusion

“Daf” is one of type of percussion instruments that has a long history and is commonly known as circular instruments (with a rim). In some tribes, Daf was used as the main instrument in festivity and joy ceremonies; in another tribe it was used as the main instrument for war and campaign ceremonies and some others used it for ritual and religious ceremonies.

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:

Payam Taghadossi: Talented Iranian-Austrian Cellist

Payam Taghadossi (born in 1989) started his musical education at the age of 4 years with Monika Scherbaum in Bregenz (Austria). At the Conservatory Feldkirch he joined the class of Imke Frank and Martin Merker. Later he studied in Zurich (Switzerland) with Thomas Grossenbacher and Christian Proske, where he 2011 graduated as a Bachelor of Arts in Music Performance. Two years later as the student of Rafael Rosenfeld he received his Master of Arts in Music Performance diploma and later graduated as a Master of Arts in spezialized Music Performance in 2016 from the Hochschule für Musik Basel FHNW.

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (2)

Innovation and Creativity The Enlightenment era championed innovation, creativity, and the relentless pursuit of knowledge, values that resonate prominently in Mozart’s string quartets. Mozart, a luminary of the Enlightenment, used the quartet form as a playground for his inventive spirit, pushing the boundaries of traditional structures and harmonic progressions. Mozart’s innovative approach is evident in…
Read More »

A combination of technique and musicality in the fingers of a pianist

In the world of classical music, the position of soloist has always been exceptional. Apart from the technical ability that many orchestral musicians also have, the soloist must also have a special power to be able to present a different and unique perspective of a piece. The soloist must maintain its special power of expression not only in solo roles but also when interacting with the orchestra.

Inefficiency of some chords and harmonization systems in Iranian music

Discussions and research have been conducted on the harmonization of “dastgah” and melodies in Iranian music, and several books have been published on this topic, including “Armenian Music of Iran” by Ali Naghi Vaziri, “Harmony of Iranian Music” by Farhad Fakhreddini, and “Harmony of Iranian Music” by Ali Ghamssari. A master’s thesis titled “Presenting a Solution for Harmonizing Based on the Structure of Tritone Intervals” was written by Atefeh EinAli in 2014. Additionally, the invention and use of “Even Harmony” by Morteza Hannaneh should be mentioned.

Principles of Violin Playing (X)

Creating sound continuity between two notes in the source and destination positions when left hand position changes and “two different finger numbers” are involved is called portamento. Portamento can be performed on single string or two neighboring strings and with hand moving on fingerboard either upward or downward.