Polyphony in Iranian Music (VI)

Written by Dr. M. Taghi Massoudieh (1927-1998)
Originally published in Honarhaye Ziba (Fine Arts) 3, 1998, 95-104.

Translated by Mahboube Khalvati

Torqeh (Transcription No. 8)

Transcription No.8

Torqeh or jal is the same bird (Bimaculated lark) and is the name of a muqam which is well-known in Torbate Jam and those areas. Jal muqam is called Torqeh in Esfarayen and Bojnourd. This muqam which was used to be played by Bakhshis/Bagşies (dutar-players) in the past is seldom performed today. Torqeh muqam describes how torqeh flies in the sky. Torqeh soars so high in the sky that cannot be seen; however, it then flies back to earth but flies again to the sky. This variety of Torqeh flight is described in the music.

The famous Zanbil Baf Bakhshi performed Torqeh muqam (Transcription No.8).

Torqeh music is comprised of several repetitions of a cliché melodic figure. This figure is moved in different tonal music ambiences. Simultaneously with this movement, the drone also changes.

Movement of parallel drone or relocation of the melodic figure in different tonal ambiences forms the parallel coincidence of two voices. Torqeh muqam, due to metric-rhythmic symmetry has motorized mobility. Constant repetition of a cliché melodic figure on the one hand and metric-rhythmic symmetry, on the other hand, describes the monotony of torqeh’s flight[i].

This polyphonic instrumental form is also very popular in Turkmen music. Here only one example of it, Kach Falak is introduced.

 

Kach Falak (Transcription No. 9)

Transcription No.9

The melody in Kach Falak muqam, as explained in its title, narrates the sorrow of the doomed destiny and is, therefore, performed in “Ghorogh Lar” muqam.

In Turkmen music, muqams which have a sorrowful content or condition are performed in this dastgah[ii]. Kach Falak muqam (Transcription No.9) is performed by Temedera– dutar is called Temedera in Turkmen music.

 

The beginning figure (Transcription No. 9, a staff 1) appears in the piece as the linking part (inter-mode) in the form of melodic figures. Types of periods of staff 2 (b) either have determined metre or free metre; or have a determined metre at the beginning and a free metre at the end. Almost these entire types end with a concise cliché figure (staffs 3, 4, 7 8, 11-15). In Kach Falak (Transcription No. 9) like in Farangi Rezagholi (Transcription No.7), the second accompanying voice constantly follows the melody’s movement and forms the parallel sequence of two voices.

 

Additionally, we encounter another form of polyphony in Turkmen music, i.e. sequence or change of dual-combination of voices. Sequence or change of dual-combination of voices is usually performed at the beginning of the piece and is generally based on the change of drone. This change is not definitely based on any chord or harmonic sequence. Another popular polyphonic form in Turkmen music is ostinato. Usually, the figure which emerges as ostinato is introduced as an individual at the beginning[iii].

Polyphonic forms in Iranian music which were studied here were based on a selection of most prominent pieces of Iranian music. These forms are also observed in many Iranian avaz and instrumental pieces. Obviously, the study of more audio sources can lead to conclusions on the existence of other polyphonic forms with regard to polyphonic music in Iran.



[i] Massoudieh, M. Taghi; Der Begriff des maqam in der persischen Volksmusic: “Von der Vielfalt  musikalischer Kultur. Festschrift  für Josef Kuckertz”. Anif/Salzburg 1992, S. 311-334.

[ii] As mentioned by Tajvardi Peykar.

[iii] Massoudieh, M. Taghi. Turkmen Music (research in progress).

Post a Comment

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

 Ahmad Pejman Passed Away!

Composer and music teacher Ahmad Pejman (1935–2025) passed away on August 29 in Los Angeles, USA, after several weeks of illness. His most recent symphonic work performed in Iran was Land of the Brave (“Sarzameen-e Delavaran”), which was staged in 2017 with the Tehran Symphony Orchestra. According to the family’s decision, his body will be laid to rest in the United States.

Timeless or Timely: The Role of Historical Context in Defining Artistic Value

Imagine that, in the course of historical research, we discover a musical piece whose compositional techniques (including form, melody, texture, and orchestration) resemble those of a second-rate 19th-century composition. But further investigation reveals that this work predates that period by 200 years. Can we still deem it insignificant? Certainly not. Here, the first major role of historical judgment becomes evident.

From Past Days…

Principles of Violin Playing (VII)

4.3.1.3 Regarding the great linear distance and the unusual distance between the first and forth fingers, the first finger while playing the doubles of ninth and tenth interval, can be twisted in the knuckle area and the point mentioned in 3.1.2.5 paragraph in relation to the way first finger is placed indicating that the first joint of this finger in back of hand must be in line with the direction of forearm and left hand is not true here.

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.

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.

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.

The Structure of Kurdistan Daf (III)

“Our ancestors believe powerful blows upon the Daf scatters evil spirits of disease and distress to create a clean and holy space filled with health and prosperity. Adding tools to Daf increases this instrument’s purification, spreading, and summoning powers of evil forces and goddesses. Daf was mostly depicted by red, color of blood, in ancient times or sometimes it was depicted with green, the color of plants and nature. There were probably some mysterious designs painted upon the wooden body and frames of these instruments just like today” (Pahlavan, 2013: 44).

Whose dream?! Whose reality?!

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

Iranian Fallacies: Iranian Chords

Finding a way to harmonize the Iranian music has been the subject of controversy among Iranian musicians for a long time. Some believe in the creation of harmonies for Iranian music based on a method which is similar to the tierce harmony; while others have either selected or invented some other methods. There are also some musicians who do not basically agree with the harmonization of the Iranian music.

Violin’s inner mold, an essential factor in developing the idea of violin

A part of the secrets of the masterpieces from the golden era lies in the special design of the instruments, as a result of a profound insight to and awareness of the significance of the precise calculation of the various components of the object of arts being created, such as making a violin or a bow.

The Structure of Kurdistan Daf (IV)

Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Daf Structure The Structure of Daf in different cities of Iran has a great variety in terms of dimensions, components and even appearance; some of which are as follows: – Square Daf, on which the skin was stretched either on one or both sides, with strings installed inside it…
Read More »

History’s Impact on Evaluating a Work of Art

With this description, we have automatically included a criterion called “History”, Until we know the time of the creation of a work of art, we cannot judge whether it has been easy to create or not. Suppose that, in a historical study, we find a musical work that is similar in compositional techniques (including form, melody, context, and orchestration) to a minor work of the nineteenth century; however, our research proves that, this work dates back to 200 years prior to that date. Can we still consider this work insignificant? Definitely not! So this is where the first use of history-based judgment comes into play.