The Structure of Kurdistan Daf (III)

Researcher:
Mohammad Tarighat

Translator:
Fatemeh Alimohammadi

There are different definitions for the structure and sound of Daf from other aspects rooted in mythical and holy-oriented beliefs. Pahlavan says the following regarding this matter:

“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).

Also, Mohammad Reza Darvishi in his book entitled “Encyclopedia of Music”, quoted from Ahmad Tusi, Mohammad Tusi’s son, in Sama and Fotovvat, interprets Daf in relation to playing it and to Daf player: “The circle of Daf refers to the circle of the universe and the skin stretched on Daf, refers to the absolute existence and the beat on Daf, refers to the entry of divine inspirations from depths of hidden into the absolute existence and Daf player individual, is a reference to the position of truth, through which the people’s soul are placed in the trap of love” (Darvishi, 2016: 396).

It is believed that Daf player extends his two hands to the sky in a state of prayer and supplication, so it is necessary to be recited with a mystical and prayerful slogan. Daf is never placed on the ground by the skin and this act is considered insulting the position of this instrument and indirectly to religious beliefs (Naqib Sardasht, 2007: 300). If Daf skin is torn during the ceremony, mystics say that the Daf has been “martyred”. If the skin is prepared from Haram* animals, it is Haram to bring it to the monastery. At the end of ceremony, the Daf is kissed and hung on the wall; with the special Daf of this ceremony, frivolous and farcical melodies are never performed because it is considered a sin by the mystics. Also, these Dafs are not entrusted to persons who are not authorized to maintain it (Nasrollahpour, 1999: 78).

According to the mystics, Daf is a symbol of monastery; Daf rings, indicate number of disciples and thumb index, is the entrance of monastery. Thumb index is in a semicircular and concave form and when one holds the Daf, completes this concavity and forms a link between himself and the Daf. The Center of Daf is considered as a symbol of God (Ahmadi, 2019: 11).

Other ceremonies in which Daf and Daf playing have great value can be called “Mowludi khani”, “welcoming and accompanying the religious scholars and mystics”, and “welcoming pilgrims”. In following, a brief explanation will be given about Mowludi and Mowludi khani.

The month of Rabi al-Aval is known among the Kurds as Mowlud month which Mowludi khani in description of the Prophet (PBUH) is the most basic program of this month. Ebrahim Moradi believes: “The Kurds believe that holding Mowludi khani ceremonies in their home, increases their livelihood and keeps pain and misery away from family members” (Moradi, 2020: 51).

The role of Daf and Daf playing in Iranian music is of special importance in three forms “solo”, “accompaniment”, and “group playing”.

 

___________________

*Haram” means forbidden and anti-halal. In religious terms is something that is forbidden by God and doing it is considered a sin.

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…

Behzad Abdi’s opera Rumi was physically released by Naxos

Composing a traditional Iranian opera using the Iranian modal system, dastgāh, has always been my dream. I first approached this by composing an opera called Ashura followed by the operas Rumi and Hafez. I believe that in order to attract an international audience for Iranian opera, it is essential to fuse dastgāh with Western classical forms.

Polyphony in Iranian Music (V)

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].

The 4th Iranian Festival of Music Websites and Weblogs

The 4th Iranian Festival of Music Websites and Weblogs was held in Niavaran Cultural Center, in Tehran, Iran on Feb. 28th, 2015. The initiator of the festival was Sajjad Pourghanad, Iranian music writer, researcher, founder of the festival and Persian setar and tar player.

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.

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.

“Symphonic Poems from Persia” Released in Germany

While the name “Persia” (Western historical name of Iran) has attracted tens of thousands of people from around the world to London’s British Museum to visit ancient Persian artifacts, the Nuremberg-based music company, Colosseum, invites Europeans to listen to eight masterpieces of Persian symphonic music.

Iranian Fallacies – Composition and Arrangement

In the tradition of classical music, it is generally tried to use the same technical terms related to music in all countries. Even in the cultures in which native terms exist to refer to musical terms, usually the better known universal terms are employed.

Developments in Iranian Music Since Qajar Era (I)

At the end of the Qajar era and as Iran entered the power transition period, known as the constitutional era, the Iranian music went through a lot of changes. These changes gained momentum as the students and followers of Ali Naqi Vaziri’s entered the musical scene. These changes greatly influenced designs of instruments, playing methods, singing, composing, etc.

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.

New Technique for Playing Classical Guitar (I)

Joint application of the two techniques of “Lip” and “Nose” could be effectively applied for hearing and playing far-away intervals, by the Classical Guitar. Before this, a Classical Guitar player had to waive playing intervals not possible with the left hand, and had to replace or eliminate some notes, making it possible to play such intervals; specifically the capability of the left hand of the musician, was also a factor in such a selection. These methods are hereby illustrated by photographs and a video-file, in order to provide optimum comprehension of applying these methods, invented by the author; specifically the “Lip” technique, which is considered to be a more significant technique, emphasized by the author.