The Structure of Kurdistan Daf (VII)

Researcher:
Mohammad Tarighat

Translator:
Fatemeh Alimohammadi

 

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.

In Iran, there are many different names for circular instruments such as: Daf, Dayereh, Charkh, Gharbal, Deire, Ghaval, Dap, Doyah, Sama, Daryeh, Buter, Doub, Taborak and so on.

In this article, a circular instrument called “Daf” in Kurdistan was studied that its components include:

Arch, frame, Gharbali: The type of wood used in Daf depends on the variety of trees in the area. In this instrument, woods of grape, orange, fig, walnut, maple, berry, quince, plane tree, ash (Van, Benav, Benavch) and Salicaceae such as: poplar and red willow are used.

The piece of wood, about two meters long, is made in a circle shape with a diameter between 53 and 55 centimeters. Dimensions will be different for children and youth and a diameter of less than 50 cm is considered for them. In some cases, the diameter may be more than 55 cm , which is made only for the type of sounding  in an orchestra. The thickness of the arch wood in the part where the studs are located is about one and a half centimeters. The Avazeh of Daf also starts from the middle of the frame and gradually decreases to a thickness of two and a half to three millimeters at the junction of the skin. The width of the frame is between five and seven and rarely 10 cm (these are known as monastery Daf), it is preferably compared to the size of the player’s palm, so that the knuckle of the thumb does not bend. Such a width will also prevent the wrist from bending in the “middle” beat.

Thumb index: The location of the thumb to hold the Daf. The size of the thumb should be appropriate with the size of the player’s palm and the length of his fingers so that the wrist does not bend during the “middle” beat.

Today, hooks and rings, unlike the past that were made of brass, steel or copper, are only made of iron. The rings are made of iron wire about one and a half to one and eight centimeters in diameter and about one millimeter thick. The distance between the hooks and the skin is calculated by taking into account half the width of the arch and adding about half a centimeter from the skin. The distance between the ring and the side rings should be as large as the diameter of a ring, which makes for a better arrangement and less interference of the rings and a clearer sound, and also helps to keep the instrument lighter. In each hook, there are four rings that the first and second rings are connected from above as a single and the next two rings are connected to the second rings in pairs.

Skin: Old, fat-free, clear, and transparent skin of animals such as sheep, goat, yeanling, lamb, ewe, antelope, fish, camels, calve, and deer, but today sheep skin and in some cases goat skins are used.

Studs or tacks made of brass, copper or iron are used to attach natural skin to arch.

Strap: When the duration of playing Daf is long, a strap is installed on the inner edge of the Daf, which the musician wraps around his wrist to reduce hand fatigue.

The best weight for Daf is a weight that applies a slight pressure to the forearm muscles. In simple terms, the musicians feel the weight of instrument.

It is hoped that this article has led Daf learners to take a deeper look at the form and components of this ancient instrument than before, and that the art of making Daf, especially Dafs with artificial skin, will be revived by using veterans’ experiences, having no weaknesses and shortcomings in the structure.  Another important issue that needs basic research is the study of the relation between the weight and diameter of the arch of Daf with limbs, ossification and muscle mass at different ages of Daf musicians, which can be divided into different groups and as a result, design and construction of instruments in various dimensions in accordance with medical science standards and without possible damage to Daf players.

 

Resources

  • Ahmadi, A., 2019, Daf officials, New Note Publications, Yazd, First edition.
  • Pahlavan, K., 2015, Daf and Dayereh, Arun Publications, Tehran, First edition.
  • Tohidi, A., 1998, Daf playing style, Soroush Publications, Tehran, First edition.
  • Khaktinat, A., 2005, Daf and playing Daf, Sureh Mehr Publications, Tehran, First edition.
  • Darwish, M.R, 2005, Encyclopedia of Iran Instruments, Mahour Cultural and Artistic Institute, Tehran, Volume 2, First Edition.
  • Mohammadi, B., 2001, Daf and its feasts in Ghaderi’s Takaya, Mahidasht Publications, Kermanshah, First edition.
  • Moradi, A., 2020, Daf in monastery, Arshadan Educational and authoring Institute, Tehran, Volume One, First Edition.
  • Mogharab Samadi, A., 2009, Exercise of Love, First book, Tasnif Publishing, Tehran, First edition.
  • Nasrollahpour, A., 2000, Kurdish instruments, Taghbostan Publications, Kermanshah, First edition.
  • Naqib Sardasht, B., 2007, Knowing instrument in Kurdish music, Tavakoli Publications, Tehran, First Edition.

 

Researcher’s Interviews

  • Jabari, A., 2022, About pathology of Daf players, May, In person interview, Tehran.
  • Hosseini, B., 2021 and 2020, About his Daf playing Style, September and January, In person interview, Sanandaj.
  • Mohammadi, H., 2021, About the structure of Daf, September, In person interview, Sanandaj.

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…

A Persian Nocturne for Piano

A Night in a Persian Garden is the name of a Nocturne composed by the Persian (Iranian) contemporary composer Behzad Ranjbaran. This Nocturne, published recently by the Theodore Presser Company in the US, was performed for the first time in 2002 in New York City by the young Persian pianist Soheil Nasseri and has enjoyed many performances by other pianists.

HarmonyTalk Journal’s Twentieth Anniversary Celebration

On the 10th of Khordad, 1403 (equivalent to May 30, 2024), the twentieth anniversary celebration of the online journal “HarmonyTalk” took place at the Ersbārān Cultural Center. The event garnered such interest from enthusiasts that the venue was completely filled.

Is the Iranian National Anthem a Copy? (I)

The alleged similarity between the Iranian and South Korean National Anthems has been a matter of discussion among musicians in Iran for several years. Earlier in 2021, the issue was taken to the media again with not only claims that the anthem is very similar to another song but also the suggestion that its musical content should draw more on the Iranian national music. Some even went to the extent to suggest replacing it with the song “O, Iran” composed by the late Rouhollah Khaleghi. Before delving more into the main issue, it would not go amiss to consider some technical characteristics of the song “O, Iran” composed in 1944.

The Role of Arts in Development of Societies

Mr. Mohsen Ghanebasiri, author and critic in the field of economy, culture and arts, as the next speaker, highlighted the role of arts, specially the music, in development of societies: “As far as the individual upbringing is concerned, a newborn baby is absolutely dependent. The relation between the baby and the parents is based on orders. There is lots of relativity in these orders; therefore, they are political orders. In the economy, however, the relations are mutual and based on common logic; hence, the formation of the concepts of democracy and individuality.

New Technique for Playing Classical Guitar (II)

When the author was working on the piece “Playing Love” by Ennio Morricone (from the legend of 1900), he realized a failure of the Lip Technique. Needing to play a chord in the 14th position of the guitar and in order to complete the harmony, it is necessary to play a harmonic note on the 7th or 5th position; it was not possible to touch the string to play this harmonic note, because the Lip Technique is used for getting the notes and not to touch the string and producing harmonic notes. Naturally, the only possible way to touch the string was to use the nose at the required position and playing the note with the right hand, and this was the best option the author found to how to play such harmonic notes, and where the Nose Technique was generated.

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.

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.

Iannis Xenakis’ Persephassa

Shiraz Arts Festival which was held in Shiraz from 1967 to 1977 featured many contemporary renowned artists who were commissioned by the Iranian royalty to compose or create works of art for performance in the arts festival. Iannis Xenakis (1922-2001) participated in Shiraz Arts Festival three times in 1968, 1969 and 1971. The Greek-French composer,…
Read More »

Polyphony in Iranian Music (VI)

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.

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.