Polyphony in Iranian Music (V)

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)

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.

Post a Comment

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

Leading the Charge in Censorship

Davoud Pirnia, writer and musicologist was the founder of “Golha” (Flowers of Persian Song and Music) programs on Tehran Radio (1956-1966). He received his early education from his father, Hassan Pirnia (Moshir al-Douleh), and several tutors of the time (Taraghi, interview, July 1989) and continued his studies at Saint Louis School in Tehran and then in Switzerland and graduated in law. While studying law, Pirnia got acquainted with European classical music. Upon returning to Iran, he was employed by the Ministry of Justice and founded the Lawyers’ Guild. Then he was transferred to the Ministry of Finance and established the Department of Statistics in this ministry. Later, he became the head of the state inspection office at the Prime Ministry; he was, then, promoted to the position of the Deputy Prime Minister (Navab Safa, interview, August 1999)

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

From Past Days…

Layla Ramezan, Iranian Pianist

Iranian pianist Layla Ramezan has always sought to create a connection between her Persian origin and the contemporary music which she encounters daily. Sound, phrasing, a particular sense of rhythm and a refined understanding of the “time of musical development” are the foremost qualities of her interpretations. Her musical and pianistic education began in Tehran at the age of 8 with Mostafa-Kamal Poortorab. Having moved to Paris and received a scholarship from Albert Roussel Foundation, she integrated the classes of Jean Micault and Devi Erlih at the Ecole Normale de Musique de Paris Alfred Cortot, where she received a Diplôme de Virtuosité in piano performance and chamber music.

“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.

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.

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.

A Note on the Occasion of Houshang Zarif’s Demise

No introduction is needed when talking about the position of the late Houshang Zarif (1938-2020) in the Iranian music. His character and personality are so well-known among musicians that his name per se is a symbol and role model for the Iranian youth. “Becoming Houshang Zarif” is the dream of many young people who enter the world of music in Iran and many of whom retire regretting the realisation of this dream.

A Promising Concert by National Instruments Orchestra

The National Instruments Orchestra of Iran performed its first concert amid much hope and anxiety on July 18, 2015. The Orchestra is founded by Roudaki Cultural and Arts Foundation which is a semi-private foundation in Iran. The Arts Director for the National Instruments Orchestra of Iran is cand the Orchestra Executive Director is Sadjad Pourghand.

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.

HarmonyTalk Celebrates 11th Anniversary

April 6 marks the anniversary of launching HarmonyTalk.com. Back in 2004, HarmonyTalk was rather a blog dedicated to music. Gradually, however, it found its way to becoming a more sophisticated journal with an intensive but not exclusive concentration on classical music.

Banan: the Artist of the Age

Gholam Hossein Banan was born in 1911 in Tehran. He was born in an affluent art-loving family who were Naser al-Din Shah Qajar (1848-1896)’s relative. The Qajar King was his mother’s uncle on her father’s side. He learnt his first lessons in music while his father sang Iranian avaz (improvised rhythmic-free singing), he then attended classes by the renowned Iranian composer, Morteza Neydavoud (1900-1990) along with his sisters; the composer is, therefore, considered as his first teacher. He then learnt Iranian avaz under the supervision of Mirza Taher Zia Resaee (Zia-o Zakerin) and Naser Seif in an oral manner.

“Pledge of Love”

The “Pledge of Love” is the first album in a series composed based on the tasnifs by the renowned Iranian tasnif-maker Mohammad Ali Amir Jahed and recorded by Sahba Kohan Ensemble with Ramin Bahiraie as signer.