Rhythmic Structure in Iranian Music

Mohammad Reza Azadehfar

Rhythmic Structure in Iranian Music


Tehran Arts University Press

Rhythmic Structure in Iranian Music


Tehran Arts University Press

Second Edition 2011 (first published in 2006) Published by Tehran Arts University Press Address: P.O. Box 14155-6434 Tehran, Iran Tel: +98 21 66725682 © Mohammad R. Azadehfar Printed in Iran by Tehran Arts University Press All rights reserved No part of this book may be reprinted r eprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means now known or hereafter invented, including photographing, and recording, or in any information storage or retrieval system, without permission in writing from the publishers. ISBN 964-6218-47-4 (9789646218475)

Introduction to the Second Edition When the Rhythmic Structure in Iranian Music was first published in 2006, there was little or no discussion on rhythmic issues of Iranian music among Iranian musicians and scholars in the field of West Asian music and Iranian music in particular. Fast spreading the issues raised in this book encouraged the Iranian musicians and scholars to take this neglected issue of Iranian music on board very rapidly. It has been a few years since this book's first edition was released. Not many developments have occurred in rhythmic structure of Iranian music ever since. One usually has to wait several years before a second edition of books like this coming out. In this instance, though, the second edition is being made only less than five years after the first edition appeared. This updated, second edition of Rhythmic Structure in Iranian Music brings together all the principles, techniques, methods, and theories from issue of rhythm in Iranian music to provide you with a full, all-encompassing introduction to Iranian music from the window of rhythm. This edition also contains some new findings of the author in some 4 years of teaching courses on rhythm to Iranian musicians and university students in all levels in Tehran. Even though this 2nd edition does not include numerous new topics, it has been updated in some issues in content and form. The improving the page layout including the fonts and design also took place in the new edition. I am hopeful to improve it further by receiving the valuable feedbacks of the readers as before.

Contents

INTRODUCTION TO THE SECOND EDITION .......................... i ACKNOWLEDGMENTS................................................................. ii CONTENTS .................................................................................... iii LIST OF FIGURES ........................................................................... x CONTENTS OF THE CDS .......................................................... xxii MAP OF IRAN .............................................................................xxvi NOTE ON TRANSLITERATION OF PERSIAN LETTERS ..... xxvii NOTE ON HISTORICAL PERIODS ......................................... xxxii NOTE ON MUSIC NOTATION .............................................. xxxiii

OPENING STATEMENT ........................................................... 35 PREVIOUS STUDIES ......................................................... ........................... 35 ABOUT THIS BOOK ................................................................................... 40

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INTRODUCTORY CHAPTER THEORETICAL PERSPECTIVES ................................47 INTRODUCTION: FUNDAMENTAL CONCEPTS ..................... 47 THE DISTINCTION BETWEEN RHYTHM AND METRE ......... 50

THE IMPACT OF ACCENT IN THE CONFIGURATION AND INTERACTION OF METRE AND RHYTHM ................................................................... ....... 61

The Ṣawt Khatm ......................................................................................................................... 61 Ḥ asan bi zahr kosht-i shud, Ḥ oseyn bi shamshī r-i jaf ā ( Ḥa san was killed by poison, Ḥ oseyn by oppression’s sword) .................................................................... 63 PERCEPTION AND THE CONCEPT OF GROUPING................ 65

GROUPING IN ĀLĀP AND WIDDESS’S APPROACH ................................... 71 CONCLUSION ............................................................................... 74

PART ONE

Chapter 1 Rhythmic Structure in Persian Poetry ............................70 INTRODUCTION ..........................................................................70 CATEGORISATION OF POETIC RHYTHMIC SYSTEMS AND PLACE OF PERSIAN POETRY ...................................................... 78 THEORETICAL ASPECTS IN PERSIAN QUANTITATIVE METRE ......................................................................................................... 79

VOWEL AND CONSONANT ...................................................................... 80 SYLLABLE .......................................................................................... ......... 81

1. Short Syllables ............................................................................................................ ............. 81 2. Long Syllable ............................................................................................................................ 82 3. Over-long Syllable ......................................................................................................... ....... 82 iv

4. Extremely Long Syllable ................................................................................................... 82 5. Diphthong Vowel............................................................................................................ ....... 83 STRESS........................................................ ................................................ 83 CONTEMPORARY CATEGORISATION OF PERSIAN POEMS. 85 ‘ARŪZ ̤ ..............................................................................................88

Chapter 2 The Rhythmic Cycles ............................................................95 INTRODUCTION ..........................................................................95 TWO SYSTEMS OF REPRESENTATION AND TRANSCRIPTION OF RHYTHM IN IRANIAN MUSIC .............................................. 97

ATĀNĪN ..................................................................................................... 98 ADWĀR (CIRCLES/CYCLES) .................................................................... 100 THE DOCUMENTED RHYTHMIC CYCLES............................. 105

THAQĪL A WWAL ............................................................................... ...... 110 THAQĪL THĀNĪ .................................................................................. ...... 112 KHAFĪF THAQĪL ...................................................................................... 113 RAMAL ................................................................. .................................... 116 THAQĪL RAMAL ....................................................................................... 118 KHAFĪF RAMAL ........................................................................................ 120 HAZAJ .................................................................. .................................... 122 FĀKHTĪ .................................................................................................... 123 TURKĪ ........................................................ .............................................. 126 MOKHAMMAS .......................................................................................... 129 CHAHĀR Z ̤ARB...................................................... ................................... 131 OTHER CYCLES .................................................... ................................... 132 GENERAL DISCUSSIONS AND CONCLUSION........................ 135 v

PART TWO

CHAPTER 3 RHYTHMIC STRUCTURE OF THE RADĪ F AND IMPROVISATION-BASED MUSIC ................ 143 IMPROVISATION AND THE CONCEPT OF THE RAD ĪF .......... 143

INTRODUCTION......................................................................................... 143 THE CONCEPT OF RADĪF .......................................................................... 148

Dastgā h ................................................................................................................................................ 150 The Building Blocks ..................................................................... ...................................... ......... 152 STRUCTURING AN IMPROVISATION ......................................................... 157

Melody Type ............................................................................................................... ..................... 159 Motif......................................................................... ............................................................................. 162 Rhythmic Pattern ........................................................................................................................... 164 Dynamic Pattern ............................................................................................................................ 169 Bounded by a Range of Notes............................................................................................... 171 Bounded by Melodic Shap........................................................................................................ 173 THE RHYTHMIC STRUCTURE OF THE RAD ĪF ......................... 175

FIXED M ETRE ............................................................................................ 175 Ḥ arbī .......................................................................... ............................................................................ 176

Majlis afr ūz ...................................................................................................................................... 178 Sā qī -nā meh, Koshteh-mordeh and Ṣū f ī- nā meh ......................................................... 180 Gereyli ............................................................................. ..................................................................... 188 Zang-i shotor ................................................................................................................................... 192 Zangūleh ............................................................................................................. ................................ 197 vi

STRETCHABLE OR ELASTIC METRE .......................................................... 201

Chahā r-pā reh ........................................................................ ........................................................... 201 Kereshmeh.......................................................................................................................................... 205 FREE M ETRE ....................................................... ....................................... 211 Regularity in Phrasing and Metric Balance ................................................................... 211 Dobeyt ī ....................................................... ...................................... 212

Irregularity in phrasing ...................................................................................................... ......... 218 Mokhālef ..................................................... ...................................... 218 TAḤRĪR ........................................................................................... 223 CONCLUSIONS .............................................................................. 235

CHAPTER 4 RHYTHMIC STRUCTURE IN PRE-COMPOSED GENRES ...................................................................................... 239 INTRODUCTION ........................................................................... 239 PĪSHDARĀMAD .............................................................................. 240 CHAHĀRMEZ ̤RĀB.......................................................................... 245

Chahā rmez ̤ r ā b Homā yūn ......................................................................................................... 249 Chahā rmez ̤ r ā b Bayā t Turk ............................................................. ........................................ 251 TAS ̣NĪF............................................................................................. 254 RENG ............................................................................................... 265 CONCLUSION ................................................................................ 272

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PART THREE

CHAPTER 5 RHYTHM IN PRACTICE: UTILISING RHYTHMIC STRUCTURE ON THE TOMBAK 275 INTRODUCTION ........................................................................... 275 TECHNIQUE OF THE TOMBAK .................................................. 276

BASIC STROKES .......................................................................................... 278 REPRESENTATION AND NOTATION OF STROKES .................................... 282 REPRESENTATION OF FIXED-METRE PIECES ON TOMBAK . 287 TRANSFORMATION OF THE FREE-METRED PIECES INTO FIXED-METRE PATTERNS............................................................ 289 ADAPTATION OF THE OLD RHYTHMIC CYCLES INTO CONTEMPORARY TECHNIQUES OF TOMBAK........................ 293 SUMMARY AND CONCLUSION .................................................. 299

Chapter 6 RHYTHM IN PRACTICE: A CASE STUDY .......... 301 INTRODUCTION ........................................................................... 301 A PERFORMANCE BY FARHANG SHARIF AND MOHAMMAD ISMĀ‘ILI ........................................................................................... 302 CLOSING STATEMENT ................................................................. 321

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Appendix 1 REPRESENTATION AND TRANSCRIPTION OF RHYTHM IN PERSIAN MUSIC ........................... 331 SABAB, VATAD AND FĀSELEH ................................................................... 331 AFĀ‘ĪL......................................................... ................................................. 333 DOTS .......................................................................................................... 335 LINES AND DOTS ....................................................................................... 336 ABJAD ......................................................................................................... 337 NUMBERS ................................................................................................... 339 GLOSSARY OF SYMBOLS AND TERMS ....................................... 345 SYMBOLS

....................................................................................... 345

TERMS ........................................................................................... 345 BIBLIOGRAPHY AND REFERENCES ........................................... 357 PEOPLE INDEX .............................................................................. 379

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List of Figures Map of Iran .................................................................................................................................. xxvi Figure I.1 Differences between rhythm and metre (London 2001: 278) ....... 53 Figure I.2: Haydn, Piano Sonata No. 61 in D Major, third movement, mm. 1-15 (Kramer 1988: 87) .................................................................................. 60 Figure I.3: Rhythmic cycle used in a Ṣawt khatm (ibid.: 108)............................ 61 Figure I.4: Murwas player and clappers move their body during the performance based on rhythm, particularly shake the body at the time point of beginning of cycles. (Photo from Kerbage 1980: 27) ................. 62 Figure I.5: Ḥasan bi zahr kosht-i shud, Ḥoseyn bi shamsh īr-i jaf ā: religious song of Bushehr, recorded and transcribed by Mohammad T. Massoudieh and Josef Kuckertz at the Behbahā nī mosque (1976: 113) ..................................................................................... ........................................... ........... 64 Figure I.6: Prescribed version of Masnav ī mokhālef in Dastgāh Segāh from the rad īf of Sabā (1980: 20) corrections by Mr. Naimimanesh (Isfahan conservatory 7 May 1985) ....................................................................... 69 Figure I.7: Transcribed version of the Masnav ī mokhālef in Dastgāh Segāh performed by M. Azadehfar........................................................................ 70 Figure I.8: Sūrat Y ūsuf (The Verses of Joseph), Quran (12/1-5) presented by Shaikh ‘Abd al-Bā set ‘Abd al-Samad (transcription: Stock 1996b: 41) ................................................................................................... ............ 71 Figure I.9: Illustration of pulse in the beginning of ālāp by involving the performer for transcription and analysis (transcription: Richard Widdess 1994:67). ..................................................................................... ...................... 73 Figure 1.1: Short vowels ................................................................................................ ............ 80 Figure 1.2: Long vowels ........................................................................................ .................... 81 Figure 1.3: Using vertical positioning to show main pattern of melodic movement (after Dehlavi 2000: 142).................................................................... 84 Figure 1.4: An example of the metric pattern of a Persian classical poem ... 85 x

Figure 1.5: An example of the metric pattern in a Nimā ’ī poem ...................... 86 Figure 1.6: An example of the metric pattern in a Sep īd poem ......................... 87 Figure 1.7: Buḥūr of ‘Arū z ̤ .................................................................................................... 89 Figure 1.8: Analysis of the pattern of shorts and longs in a poem in baḥr of Hazaj90 Figure 1.9: Short and long syllables shown as 1:2 rhythmic values ................. 91 Figure 1.10: Variations of the previous example ........................................................ 91 Figure 1.11: Analysis of the pattern of shorts and longs in a poem in one of the Azāḥif of baḥr of Rajaz ........................................................................ 92 Figure 1.12: Representing the basic pattern of short and long syllables as 1:2 .... 92 Figure 1.13: Transferring the short and long pattern of the previous example to fixed-metre of 4 and 1 ......................................................................... 92 Figure 2.1: Representing the rhythmic pattern of “Sharveh” with at ān ī n ..... 100 Figure 2.2: Dividing the cycle by and dots, the approach used by Ṣaf ī alDī n and ‘Abd al-Q ā dir ................................................................................................. 101 Figure 2.3: Comparing the cyclic system with the system of at ā nī n ................ 101 Figure 2.4: Representing the rhythmic pattern of “Sharveh” by the adw ā ri approach ...................................................................................................................... ........... 102 Figure 2.5 Dividing the cycle using three different lines, the approach of Quṭ b al-Dī n Shī rā zī in Durrat al-T ā j ................................................................. 75 Figure 2.6 Dividing the cycle by line and dots, as presented in Kanz alTuḥaf (Binesh 1992: 110-11) ................................................................................. 102 Figure 2.7 Helix graphic suggested by Jeff Pressing (Pressing 1993: 12) .103 Figure 2.8 Representing the rhythmic cycle of Thaq ī l awwal on Helix (presented by author based on Pressing graphic) ............................................ 104 Figure 2.9: Thaq īl awwal ................................................................................. ................... 110

Figure 2.10: The cycle of Thaq ī l awwal in manuscript of al-Adwār (p. 80). ,111 Figure 2.11: The cycle of Thaq ī l awwal in manuscript of Durrat al-T ā j (Mishkā t 1945: 139) ......................................................................................... ......................... 111 Figure 2.12: Thaqī l thā nī ......................................................................................................... 112 xi

Figure 2.13: The cycle of Thaq ī l thā nī in the manuscript of al-Adw ār (p. 82) 113 Figure 2.14: The cycle of Thaq ī l thā nī in the manuscript of Durrat al-T ā j (Mishkā t 1945: 139) ..................................................................................................... 113 Figure 2.15: Khaf fī thaqī l ........................................................................................................ 114 Figure 2.16: The cycle of Khaf fī thaqī l with sixteen naqar ā t in the manuscript of Dj ā mi‘ al-Al ḥā n (Binesh 1987: 219)................................... 115 Figure 2.17: The cycle of Khaf fī thaqī l with eight naqar ā t in the manuscript of Risā lah al-Sharafiyah (p.128) .................................................. 115 Figure 2.18: The cycle of Khaf fī thaqī l with four naqar ā t in the manuscript of Durrat al T ā j (Mishkā t 1945: 139) ...................................... 116 Figure 2.19: Ramal, first version, based on the Risā lah al-Sharafiyah, Durrat al T ā j, Maqāṣid al-Al ḥā n and Dj ā mi‘ al-Al ḥā n .......................... 117 i‘ al-Al ḥā n by ‘Abd Figure 2.20: Ramal, second version, based on Dj ām al-Q ā dir and Risā leh M ūsī qī by J ā mī ............................................. .................... 117

Figure 2.21: Ramal, third version, based on Risā lah al-Sharafiyah and Durrat al T ā j ............................................................................. ......................................... 117 Figure 2.22: The cycle of Ramal in Maqāṣid al-Al ḥā n by ‘Abd al-Q ā dir (Binesh 1978: 95)........................................................................................... ................. 118 Figure 2.23: The cycle of Ramal in Risā lah al-Sharafiyah (p129) ................118 Figure 2.24: Thaqī l ramal ....................................................................................................... 119 Figure 2.25: The cycle of Thaq ī l ramal in the manuscript of al-Adw ār (p. 87)120 Figure 2.26: The cycle of Moz ̤ ā ’af ramal (Thaqī l ramal) in the manuscript of Risā lah al-Sharafiyah (p. 130) .......................................................................... 120 Figure 2.27: Khaf fī ramal ................................................................................... .................... 121 Figure 2.28: The cycle of Khaf fī ramal in the manuscript of Durrat al-T ā j by Quṭ b al-Dī n Shī rā zī (Mishkā t 1945: 140) ............................................. 121 Figure 2.29: Hazaj awwal ......................................................................................... ............. 122 Figure 2.30: Hazaj th ā nī ...................................................................................................... ... 122

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Figure 2.31: The cycle of Hazaj kab ī r (awwal) and Hazaj ṣaghī r (thā n ) ī from the manuscript of Dj ā mi‘ al-Al ḥā n by ‘Abd al-Q ād ir (Binesh 1987: 231) ..................................................................................................... ...................... 123 Figure 2.32: Fā kht ī moz ̤ ā ‘af ........................................................................................... ........ 125 Figure 2.33: The cycle of Fā kht ī kabī r (moz ̤ ā‘ af) in the manuscript of Dj ā mi‘ al-Al ḥā n by ‘Abd al-Q ā dir (1987: 222) .......................................... 125 Figure 2.34: Turkī ‘aṣl ghad ī m............................................................................................. 126 Figure 2.35: Turkī ‘aṣl jad ī d .................................................................................................. 127 Figure 2.36: Eight different versions of Turk ī in manuscript of Dj ā mi‘ al Al ḥā n by ‘Abd al-Q ā dir (1987: 225).................................................................. 128 Figure 2.37: Turkī , based on the version reported by Quṭ b al-Dī n Shī rā zī in Durrat al-T ā j ...................................................................................................... ......... 129 Figure 2.38: Mokhammas owsa ṭ ......................................................................................... 130 Figure 2.39: Cycle of three different versions of Mokhammas in manuscript of i‘ al-Al ḥā n by ‘Abd al-Q ād ir (Binesh 1987: 226)...................................130 Dj ām Figure 2.40: Chahā r z ̤ arb with 24 naqar āt ................................................................... 131 Figure 2.41: Extended pattern of Chah ā r z ̤ arb by ‘Abd al-Q ā dir in Dj ā mi‘ al-Al ḥā n (Binesh 1987: 224) .................................................................. 132 Figure 2.42: Three cycles exclusively reported by Qu ṭ b al-Dī n Shī rā z ī in Durrat al-T ā j ........................................................................................... .......................... 133 Figure 2.43: Five cycles created by ’Abd al-Q ā dir Mar ā gh ī ...............................134 Figure 2.44: Summary of rhythmic cycles ..................................................................... 137 Figure 3.1: Shekasteh presented by Nour Ali Boroumand in a private class in Tehran during the 1960s or 1970s, transcribed by Azadehfar ..........156 Figure 3.2: Simple melody type and the directions to repeat at a different register and return to the base tetrachord in the g ūsheh of Bakhteyā rī (Sabā 1959: 11) ................................................................................................. .. 160 Figure 3.3: More complex melody type of Masnav ī in the dastgā h of Shūr and its decoration and modulation (Massoudieh 2000: 27)..................... 161 Figure 3.4: Baste-negā r in Abū-at ā from the rad fī of Mirzā ‘Abdull āh (During 1991: 125) .................................................................................................................... 163 xiii

Figure 3.5: Baste-neg ā r in Bayā t turk from the rad fī of Mirzā ‘Abdull āh (During 1991: 137) ......................................................................................... .... 163 Figure 3.6: Baste-neg ā r in Bayā t kord from the rad fī of Mirzā ‘Abdull āh (During 1991: 158) ......................................................................................... .... 163 Figure 3.7: The significance of a two-bar motif in the g ūsheh of Sayakhī from the rad fī of Sabā (1985: 11) ................................................................... 164 Figure 3.8: Naghmeh-i avval in Shūr from the rad fī of Mirzā ‘Abdull āh (During 1991: 89-90)............................................................................. ........... 166 Figure 3.9: Chahā r pā reh in M ā hūr from the rad ī f of Mirzā ‘Abdull āh (During 1991: 221) ............................................................................................................ ........ 167 Figure 3.10: Chahā r pā reh in ā vā z of Abū-at ā with decorations and ornamentations (Massoudieh 2000: 44-51).................................................................. 169 Figure 3.11: Sūz o god āz in Bayā t Isfahan from the rad fī of Mirzā ‘Abdull āh (During 1991: 273) ........................................................................................ ..... 171 Figure 3.12: Bounding the range of tones in the g ūsheh of Bī dā d from the rad fī of Sabā (1959: 9).................................................................................. .................... 173 Figure 3.13: Bounding the piece by melodic shape, as seen in the g ūsheh of Ṭūsī from the rad fī of Sabā (1981: 10) ..................................................................... 174 Figure 3.14: Reng-i Ḥ arbī in M āh ūr from the rad fī of Mirzā ‘Abdull āh (transcribed by During 1991: 235-7) ............................................................................... 177 Figure 3.15: First few lines of reng-i Ḥ arbī in M ā hūr, prescriptive transcription of Far ā marz P ā yvar for sant ūr (1961: 28) ...................................... 178 Figure 3.16: Majlis afr ūz in M ā hūr from the rad fī of Mirzā ‘Abdull āh (transcribed by During 1991: 212) ..................................................................................... 179 Figure 3.17: Majlis afr ūz in M āh ūr from the rad fī of Sabā —this gūsheh also called Khā razmi in this rad fī (1981:7) ................................................. 180 Figure 3.18: Sā qī -nā meh, Koshteh-mordeh, and Ṣū f ī -nā meh in M ā hūr from the rad fī of Mirz ā ‘Abdull ā h as played by Boroumand (transcribed by During 1991: 240-4115) ............................................................................................... .. 182 Figure 3.19: Sā qī -nā meh in M ā hūr from the rad fī of Karimi (transcribed by Massoudieh 2000: 177)........................................................................... 183 xiv

Figure 3.20: Comparison of the first bar in Mirz ā ‘Abdull āh ’s and Karimi’s versions of Sā qī -nā meh, .............................................................................. .......... 184 Figure 3.21: Koshteh, in M āh ūr from the rad fī of Karimi (transcribed by Massoudieh 2000: 178) ..................................................................................................... 184 Figure 3.22: Ṣū f ī -nā meh in M ā hūr from the rad fī of Karimi (transcribed by Massoudieh 2000: 178-79) .................................................................. 185 Figure 3.23: Sā qī -nā meh in M āh ūr from the rad fī of Sabā (1981: 28-9)..........186 Figure 3.24: Comparing the basic rhythmic pattern in S ā qī -nā meh, Ṣū f ī -nā meh and Koshteh-mordeh with the poetic pattern of motaqā rib ....... 187 Figure 3.25: First three lines of Gereyli in Shūr from the rad ī f of Mirzā ‘Abdull āh (transcribed by During 1991: 105) ............................................................. 189 Figure 3.26: Gereyli in Shūr from the rad fī of Karimi (transcribed by Massoudieh 2000: 24-5) ........................................................................................................ .190 Figure 3.27: Overview of the rhythmic pattern in Gereyli and the setting of syllables to notes ................................................................................................ ...................... 191 Figure 3.28: Representing the rhythmic pattern of Gereyli as a cycle ............ 192 Figure 3.29: Zang-i shotor in R ā st-panjgā h from the rad fī of Mirzā ‘Abdull āh (transcribed by During 1991: 298-9) ........................................................ 193 Figure 3.30: Zang-i shotor in Hom ā yūn from the rad fī of Mirzā ‘Abdull āh (transcribed by During 1991: 245-4) ........................................................ 194 Figure 3.31: Zang-i shotor qad ī m in Segā h from the rad fī of Sabā (1980:19) .......................................................................................................... ................................ 195 Figure 3.32: Zang-i shotor in Segā h performed by Toghā nian (transcribed by Azadehfar) .......................................................................................... ............ 197 Figure 3.33: Zangūleh in M ā hūr from the rad fī of Mirzā ‘Abdull ā h (transcribed by During 1991: 225) ..................................................................................... 198 Figure 3.34: Zangūleh in Chahā rgā h from the rad fī of Sabā (1980:19).....199 Figure 3.35: Zangūleh in M āh ūr from the rad fī of Sabā (1980:19) ..............199 Figure 3.36: Chahā r-bā gh in Abū-at ā from the rad fī of Sabā (1985: 16).........203 Figure 3.37: Naṣī rkhā nī in M āh ūr from the rad fī of Karimi (transcribed by Massoudieh 2000: 169) ..................................................................................................... 204 xv

Figure 3.38: The ‘Ar ūz ̤ i cycle of K ām il, the basis of rhythmic pattern of Chahā r-pā reh ........................................................................................ .......................................... 205 Figure 3.39: Kereshmeh in M ā hūr from the rad fī of Mirzā ‘Abdull ā h (transcribed by During 1991: 210) ..................................................................................... 206 Figure 3.40: The rhythmic pattern of the instrumental version of Kereshmeh .. 206 Figure 3.41: Kereshmeh in Shūr from the rad fī of Karimi (transcribed by Massoudieh 2000: 13) ......................................................................................... ............... 207 Figure 3.42: Kereshmeh in Shūr performed by Shajarian in Deylamā n (1995, transcribed by Azadehfar) ........................................................................................ 208 Figure 3.43: Rhythmic pattern of the vocal version of Kereshmeh .................. 209 Figure 3.44: The pattern of Kereshmeh based on the Thaqī l awwal ..............210 Figure 3.45: Representing the rhythmic pattern of Kereshmeh in a cycle.....210 Figure 3.46: Dobeyt ī in Shūr from the rad fī of Mirzā ‘Abdull āh (the original transcription by During 1991: 235-7) ........................................................... 214 Figure 3.47: Dobeyt ī in Shūr from the rad fī of Karimi (original transcription by Massoudieh 2000: 21) ........................................................................... 215 Figure 3.48: Dobeyt ī in Shūr from the rad fī of Sabā (after Sabā 1980: 33) . ...216 Figure 3.49: The ‘Ar ūz ̤ i cycle of Hazaj, the basis of the rhythmic pattern of Dobeyt ī ......................................................................................................................... 216 Figure 3.50: A poem by B ā bā Ṭā her in the form of Dobeyt ī and analysis of its rhythmic structure .......................................................................................... 217 Figure 3.51: Mokhā lef in Segā h from rad fī of Mirzā ‘Abdull ā h (transcription by During 1991: 171-72)......................................................................... 219 Figure 3.52: Mokhā lef in Segā h from the rad fī of Karimi (transcription by Massoudieh 2000: 133) ..................................................................................................... 220 Figure 3.53: Mokhā lef in Segā h from the rad fī of Sabā (1980:18) ................221 Figure 3.54: Special design and decoration as a unique way of identification of different eras and regions: Sheikh Lotfollah Mosque (1602), Isfahan (Photo: Irania 1997)................................................................................ 224

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Figure 3.55: Interpretation of Western notation by a sant ūr player (Sabā 1980: 5-7) .................................................................................................................................. ...... 225 Figure 3.56: Tekiyeh and its common realisation (P ā yvar 1961:41) ............ 226 Figure 3.57: Taḥr ī r in dastgā h Shūr performed by Shajarian in Khalvat guzī deh (1981, transcribed by Azadehfar) ..................................................................... 227 Figure 3.58: Gham-angiz in Dasht ī from the rad fī of Sabā (1985: 30-31)...229 Figure 3.59: Gham-angiz in Dasht ī from the rad fī of Karimi (transcribed by Massoudieh 2000: 73) ............................................................................. 230 Figure 3.60: Baghdadi in Ab ū-at ā from the rad fī of Sabā (1985: 13) ......... 231 Figure 3.61: Āv āz (dar ām ad) of Afshā ri from the rad fī of Sabā (1985: 17) ...232 Figure 3.62: Dar ā mad of Afshā ri from the rad fī of Karimi (transcribed by Massoudieh 2000: 79) ......................................................................................... ............... 232 Figure 3.63: Dar ā mad of Afshā ri from the rad fī of Mirzā ‘Abdull ā h (transcribed by During 1991: 144) ..................................................................................... 233 Figure 4.1: Ghol ām Ḥ oseyn Darvish, (Darvishkhā n) the innovator of pī shdar ā mad (photo, Ruh-Allah Khā leqi 1974) ........................................................ 241 ad M āh ūr by Darvishkhā n (Tahmā sbi 1998: 11-12)...244 Figure 4.2: P īs hdar ām

Figure 4.3: Some popular techniques of mez ̤ rā b in chahā rmez ̤ rā b-ha (derived from different works of master Far ā marz P ā yvar) ................................. 248 Figure 4.4: Chahā rmez ̤ rā b of Homā yūn from the rad fī of Mirzā ‘Abdull āh (transcribed by During 1991: 244) ............................................................. 250 Figure 4.5: Chahā rmez ̤ rā b of Bayā t turk (P ā yvar 1990: 25-30)..................... 252 Figure 4.6: Ab al-Ghā sem Āref Qazvini, one the distinguished creators of taṣnī f on political issues (photo, Ruh-Allah Khā leqi 1974) .......................... 256 Figure 4.7: Ali Akbar Sheyd ā , the most distinguished taṣn fī composer of the nineteenth and early twentieth centuries (photo, Ruh-Allah Kh ā leqi 1974) ......260 Figure 4.8: Taṣnī f Amā n by Sheyd ā (transcribed by Azadehfar from the version presented by Shajarian 1981) ................................................................................ 262 Figure 4.9: Simplification of the main rhythmic phrase in the first part of Amā n ................................................................................ ............................................. ................ 263

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Figure 4.10: Simplification of the p ā yeh (rhythmic ostinato) in the first part of Amā n ................................................................................................ ................................... 263 Figure 4.11: Comparison of the main rhythmic phrase in the first and second parts of Amā n .................................................................................................................. 264 Figure 4.12: Comparison of the pā yeh in the first and second parts of Amā n .. 264 Figure 4.13: Classical Persian dancer in special costume (Margaret Caton and Neil Siegel 1986)........................................................................................... ...... 267 Figure 4.14: Reng Z ̤ arb-i oṣūl from the rad fī of Mirzā ‘Abdull ā h (transcription by During 1991: 103-5) ........................................................................... 270 Figure 4.15: Similarity between the cycle Z ̤ arb-i ’aṣl as reported in Durrat al-t ā j by Quṭ b al-Dī n Shī rā zī with the Reng Z ̤ arb-i oṣūl..................271 Figure 5.1: A typical tombak with approximate size .............................................. 277 Figure 5.2: The posture of the right hand, ready to play tom ............................. 278 Figure 5.3: Striking the tom .............................................................................................. ..... 279 Figure 5.4: The mi ān eh technique, type 1......................................... .............................. 280 Figure 5.5: The mi ān eh technique, type 2......................................... .............................. 280 Figure 5.6: The bak technique, type 1 (pelang) ........................................................... 281 Figure 5.7: The bak technique, type 2............................................................................... 282 Figure 5.8: Tombak three-lines notation and its interpretation ....................... 283 Figure 5.9: The most common tombak rhythms, as found in the works of Ḥ oseyn Tehrani (1992).................................................................................... ................... 285 Figure 5.10: The process of deriving rhythmic pattern of tombak from the rhythmic cycle of Chah ā r-pā reh .................................................................................... 286 il, the basis of rhythmic pattern of Figure 5.11: The ‘Ar ūz ̤ i cycle of K ām Chahā r-pā reh..................................................................................................................................................286

Figure 5.12: The main rhythmic motif in Zang-i shotor performed by Toghā nian (transcribed by Azadehfar) ............................................................................. 287 Figure 5.13: Rhythmic pattern of Togh ā nian’s version of Zang-i shotor for tombak (prescriptive transcription by Azadehfar)............................................... 287 xviii

Figure 5.14: Simplification and transformation of the rhythmic pattern of some of the fixed-metre g ūsheh-ha in the tombak style (prescriptive transcription by Azadehfar) .................................................................................................... 288 Figure 5.15: Dobeyt ī in Shūr from rad fī of Mirzā ‘Abdull ā h (after During 1991: 235-7) ....................................................................................... .......................... 290 Figure 5.16: Transformation of the gūsheh of Dobeyt ī from free metre into fixed metre ....................................................................................... ....................................... 291 Figure 5.17: Contrapuntal tombak line corresponding to the rhythmic pattern of the gūsheh of Dobeyt ī (prescriptive transcription by Azadehfar) .........292 Figure 6.1: Farhang Sharif, t ār performer ...................................................................... 303 Figure 6.2: Mohammad Ismā ‘ili, tombak performer................................................. 303 Figure 6.3: The opening section, improvisation based on the dar ā mad of Shūr and Khā rā performed by Farhang Sharif on t ār .............................................. 304 Figure 6.4: A comparison between the phrases in the opening section, performed by Farhang Sharif on t ār ................................................................................... 306 Figure 6.5: Section two, p ī shdar ā mad in dastgā h Shūr ........................................... 308 Figure 6.6: The main p ā yeh of the melodic line in pī shdar ām ad ...................... 309 Figure 6.7: The main p ā yeh of the percussion line in pī shdar ā mad ................ 309 Figure 6.8: Section four, fragment of ﬁrst chahā rmez ̤ rā b ........................................ 311 Figure 6.9: Interaction between Mohammad Ism ā ‘ili and Farhang Sharif (note how they intently look at each other’s hands) ................................................... 313 Figure 6.10: Section six, second chah ā rmez ̤ rā b, opening section and a fragment from 3’57” ........................................................................................ ............................ 315 Figure 6.11: Comparison between the rhythmic pattern of the g ūsheh of Gereyli and the rhythmic pattern of a selected part of the chah ā rmez ̤ rā b presented by Farhang Sharif ................................................................................................... 316 Figure 6.12: Section eight, third chah ā rmez ̤ rā b, opening section and a fragment from 5’10” ........................................................................................ ............................ 317 Figure 6.13: The rhythmic pattern of the vocal version of Kereshmeh as presented in Chapter Three.................................................................................. .................... 318

xix

Figure 6.14: Simpli ﬁed rhythmic pattern of vocal version of Kereshmeh as performed by Sharif in the third chahā rmez ̤ rā b ...................................................... 319 Figure Ap1.1: Asbā b, avt ā d and fav ās el in manuscript of Shar ḥ-i Adw ā r by Abd al-Q ād ir (reported by Binesh 1991: 255) .................................... 332 Figure Ap1.2: “Sharveh”, a song from Būshehr, transcribed into sabab, vatad and f ā seleh............................................................................................... ............................. 333 Figure Ap1.3: The main eight af ā ‘ī l .................................................................................. 334 Figure Ap1.4: Representing the song text of “Sharveh” with af ā ‘ī l................335 Figure Ap1.5: Representing the rhythmic pattern of “Sharveh” with dots ...336 Figure Ap1.6: Transcribing “Sharveh” using lines and dots ................................ 337 Figure Ap1.7: Abjad characters and the equivalent at ā nī n and naqar āt ........ 338 Figure Ap1.8: Transcribing “Sharveh” based on Abjad ......................................... 339 Figure Ap1.9: Ṭ ar ī qeh (fi al-qad ī m) Yu‘rifu bi-mojannab al-ramal from the manuscript of al-Adw ā r (p. 94)........................................................................ 340 Figure Ap1.10: Ṭ ar ī qeh Yu‘rifu bi-mojannab al-ramal from the manuscript of Risā lah al-Sharafiyah (p. 135).............................................................. 340 Figure Ap1.11: Taṣn fī dar pardeh Hoseynī dar duwr-i ramal reported in Maqāṣid al-Al ḥā n.................................................................................. ................................. 341 Figure Ap1.12: Taṣnī f dar pardeh Hoseynī dar duwr-i ramal transcribed in western notation by Farhad Fakhreddini (Binesh 1991: 21, numbers and the text transliterated to English by the author). ................... 341 Figure Ap1.13: Ṭ ar ī qeh f ī al-Ramal Guw ās ht from the manuscript of al-Adw ā r (pp. 93-4) .......................................................................................... ......................... 342 Figure Ap1.14: Ṭ ar ī qeh f ī al-Ramal Guw ās ht transcribed to Western notation by Farmer (1986: 60) ............................................................................................ 343

xx

Contents of the CDs 1 Two audio CDs accompany this book. CD1 is examples performed on sant ūr and tombak by the author. All pieces performed on sant ūr in this CD are from the rad f ī of Sabā other than those indicated below. CD2 is a collection of examples performed by other musicians, whether recorded by myself in the field or collected from other recorded materials. CD1: Track 1

Masnav ī mokhā lef in dastgā h Segā h

Track 2

Bakhteyā r ī in dastgā h Homā yūn

Track 3

Sayakhī in ā vā z Abū-at ā

Track 4

Bī dā d in dastgā h Homā yūn

Track 5

Ṭūsī in M āh ūr

Track 6

Reng-i Ḥ arbī in M āh ūr , a version by Farāmarz Pā yvar for sant ūr

Track 7

Majlis afr ūz in M ā hūr

Track 8

Sā qi-nā meh in M ā hūr

Track 9

Zang-i shotor qad ī m in Segā h

Track 10

Zangūleh in Chahā rgā h

Track 11

Zangūleh in M āh ūr

Track 12

Chahā r-bā gh in Abū-at ā

Track 13

Dobeyt ī in Shūr

Track 14

Mokhā lef in Segā h

Track 15

Some techniques of sant ūr in Western notation

Track 16

Tekiyeh

Track 17

Gham-angiz in Dasht ī

Track 18

Baghd ād i in Abū-at ā

1

CDs are downloadable from: www.art.ac.ir/publications/ xxi

Track 19 Āv āz (dar ām ad) of Afshā ri Track 20

Chahā rmez ̤ r āb of Bayā t turk composed by Pā yvar

Track 21

Tombak notation

Track 22

Rhythmic pattern of Toghānian’s version of Zang-i shotor (on tombak)

Track 23

Rhythmic pattern of Ḥ arbī (on tombak)

Track 24

Rhythmic pattern of Majlis afr ūz (on tombak)

Track 25

Rhythmic pattern of Sā qi-nā meh (on tombak)

Track 26

Rhythmic pattern of Gereyli (on tombak)

Track 27

Rhythmic pattern of Zangūleh (on tombak)

Track 28

Mokhammas ṣaghī r, 4 naqar āt (on tombak)

Track 29

Fā kht ī aṣ ghar and Far‘ Far‘ Turkī (Shar ḥ-i Adw ār ), 5 naqar āt (on tombak)

Track 30

Z ̤ arb Fath (Dj ā mi‘ al-Al ḥā n), 5 naqar āt (on tombak)

Track 31

Hazaj thā n ,ī 6 naqar āt (on tombak)

Track 32

Turkī sar ī ‘, 6 naqar ā t (on tombak)

Track 33

Khaf fī thaqī l (Sharafiyah), 8 naqar ā t (on tombak)

Track 34

Mokhammas owsat, 8 naqar āt (on tombak)

Track 35

10 naqar ā t (on tombak) Khaf f ramal, ī

Track 36

Hazaj awwal, 10 naqar āt (on tombak)

Track 37

ī (Dj ām i‘ al-Al ḥā n), 10 naqar āt (on Fā kht ī ṣaghī r and Turkī khaf f tombak)

Track 38

Unnamed cycle (Durrat al-T ā j ), 10 naqar āt (on tombak)

Track 39

Turkī (Durrat al-T ā j), 12 (14) naqar āt (on tombak)

Track 40

Ramal (version 1) and Turkī khaf f ī (Risā leh M ūsī qī ), 12 naqar āt (on tombak)

Track 41

Ramal (version 2) and Z ̤ arb ’aṣl or Z ̤arb r ās t (Durrat al-T ā j ), 12 naqar āt (on tombak) xxii

Track 42

Ramal (version 3, in Sharafiyah: khaf fī ramal), 12 naqar ā t (on tombak)

Track 43

Ramal (Adw ār ), 12 naqar āt (on tombak)

Track 44

i‘ al-Al ḥā n), 14 naqar āt (on tombak) Z ̤ arb Jad īd (Dj ām

Track 45

Thaqī l awwal, 16 naqar āt (on tombak)

Track 46

Thaqī l thā nī and Mokhammas kabī r, 16 naqar ā t (on tombak)

Track 47

Khaf fī thaqī l, 16 naqar āt (on tombak)

Track 48

Khaf fī (Durrat al-T ā j), 16 naqar ā t (on tombak)

Track 49

Fā kht ī moz ̤ ā‘ af, 20 naqar āt (on tombak)

Track 50

Turkī ‘aṣl jad ī d, 20 naqar āt (on tombak)

Track 51

Thaqī l ramal, 24 naqar āt (on tombak)

Track 52

Thaqī l ramal (Sharafiyah, Durrat al-T ā j), 24 naqar āt (on tombak)

Track 53

Turkī ‘aṣl ghad ī m, 24 naqar ā t (on tombak)

Track 54

Chahā r z ̤ arb, 24 naqar āt (on tombak)

Track 55

Fā kht ī az ̤ ‘ ā f, 40 naqar āt (on tombak)

CD2: Track 1

Sūrat Y ūsuf from Quran presented by Shaikh ‘Abd al-Bāset ‘Abd al-Samad

Track 2

Sharveh vocal song from Būshehr

Track 3

Improvisation based on the gūsheh of Shekasteh in a private lesson by Nour Ali Boroumand

Track 4

Performing the gūsheh of Shekasteh in a private lesson by Boroumand

Track 5

Masnav ī in dastgā h of Shūr by Mahmud Karimi

Track 6

Baste-negā r in Abū-at ā from the rad f ī of Mirzā ‘Abdullāh performed by Boroumand

Track 7

ī of Mirzā ‘Abdullāh Baste-negā r in Bayā t turk from the rad f performed by Boroumand

Track 8

Baste-negā r in Bayā t kord from the rad f ī of Mirzā ‘Abdullāh performed by Boroumand xxiii

Track 9

Naghme-ye avval in Shūr from the rad f ī of Mirzā ‘Abdullāh performed by Boroumand

Track 10

Chahā r pā reh in M āh ūr from the rad f ī of Mirzā ‘Abdullāh performed by Boroumand

Track 11

Chahā r pā reh in ā vā z of Abū-at ā by Mahmud Karimi

Track 12

Sūz o god āz in Bayā t Isfahan from the rad f ī of Mirzā ‘Abdullāh performed by Boroumand

Track 13

Reng-i Ḥ arbī in M ā hūr from the rad f ī of Mirzā ‘Abdullāh performed by Boroumand

Track 14

Majlis afr ūz in M āh ūr from the rad f ī of Mirzā ‘Abdullāh performed by Boroumand

Track 15

Sā qi-nā meh, Koshteh-mordeh , and Ṣufi-nā meh in M āh ūr from ī of Mirzā ‘Abdullāh performed by Boroumand the rad f

Track 16

Sā qi-nā meh in M āh ūr by Mahmud Karimi

Track 17

Koshteh in M āh ūr by Mahmud Karimi

Track 18

Ṣufi-nā meh in M āh ūr by Mahmud Karimi

Track 19

ī of Mirzā ‘Abdullāh performed by Gereyli in Shūr from the rad f Boroumand

Track 20

Gereyli in Shūr by Mahmud Karimi

Track 21

Zang-i shotor in Rā st-panjgā h from the rad f ī of Mirzā ‘Abdullāh performed by Boroumand

Track 22

ī of Mirzā ‘Abdullāh Zang-i shotor in Homā yūn from the rad f performed by Boroumand

Track 23

Zang-i shotor in Segā h performed by Toghānian

Track 24

Zangūleh in M āh ūr from the rad f ī of Mirzā ‘Abdullāh performed by Boroumand

Track 25

Nas īr khā nī in M āh ūr by Mahmud Karimi

Track 26

Kereshmeh in M āh ūr from the rad f ī of Mirzā ‘Abdullāh performed by Boroumand

Track 27

Kereshmeh in Shūr by Mahmud Karimi xxiv

Track 28

Kereshmeh in Shūr performed by Shajarian

Track 29

Dobeyt ī in Shūr from the rad f ī of Mirzā ‘Abdullāh performed by Boroumand

Track 30

Dobeyt ī in Shūr by Mahmud Karimi

Track 31

ī of Mirzā ‘Abdullāh performed Mokhā lef in Segā h from the rad f by Boroumand

Track 32

Mokhā lef in Segā h by Mahmud Karimi

Track 33

Taḥr īr in dastgā h Shūr performed by Shajarian

Track 34

Gham-angiz in Dasht ī by Mahmud Karimi

Track 35

Dar ām ad of Afshā ri by Mahmud Karimi

Track 36

Dar ām ad of Afshā ri from the rad f ī of Mirzā ‘Abdullāh performed by Boroumand

Track 37

P ī shdar ām ad M āh ūr by Darvishkhān performed by an orchestra of Iranian master musicians, conducted by Farāmarz Pā yvar

Track 38

Chahā rmez ̤ r ā b of Homā yūn from the rad f ī of Mirzā ‘Abdullāh performed by Boroumand

Track 39

Taṣn fī Amā n by Āref presented by Shajarian

Track 40

Reng Z ̤ arb-i oṣūl from the rad f ī of Mirzā ‘Abdullāh performed by Boroumand

Track 41

Reng Z ̤ arb-i oṣūl, orchestrated version by Parviz Meshkatian

Track 42

ad of Shūr performed by Farhang Sharif Dar ām

Track 43

P ī shdar ām ad in dastgā h Shūr performed by Farhang Sharif and Mohammad Isma‘ili

Track 44

First chahā rmez ̤ r ā b performed by Farhang Sharif and Mohammad Isma‘ili

Track 45

Second chahā rmez ̤ r ā b performed by Farhang Sharif and Mohammad Isma‘ili

Track 46

Third chahā rmez ̤ r ā b performed by Farhang Sharif and Mohammad Isma‘ili

xxv

Map of Iran2

2

Map from: www.nationalgeographic.com xxvi

Note on transliteration of Persian letters There is no single rule in the transliteration of Persian terms to English. Different sources use various systems of transliterations. The most well-known systems are those used in the Encyclopaedia Iranica, the Encyclopedia of Islam, International Journal of Middle East Studies and the Library of Congress. Each system has some advantages and some limitations. For instance, the Encyclopaedia Iranica employs single letters in special shapes to show consonants, which normally are represented by a combination of to letters—š instead of sh (as in shop) and č instead of ch (as in child). International Journal of Middle East Studies uses the modified Encyclopedia of Islam system. The problem with Encyclopedia of Islam and consequently the International Journal of Middle East Studies is that the transliteration system is based on Arabic pronunciation, which is different in number of respects from Persian pronunciation. For instance, is represented with ḍ in this Encyclopaedia which makes sense in Arabic pronunciation but in Persian it is simply pronounced z. Those problems have been avoided in the Library of Congress system of transliteration where Arabic and Persian have two separate systems of transliteration. All terms from Persian and Arabic in this book are transliterated according to the system of Library of Congress. 3 None of the sources mentioned above suggest English equivalents for the vowels and consonants, and some of the consonants used in Persian language do not exist in English. The list of English examples presented here have been developed in collaboration with the English Language Teaching Centre, University of Sheffield, and are used only as approximate equivalents.

3

The table of transliteration presented here is a summary of the instructions and the table of transliteration of Persian language provided by the Library of Congress (see: http://www.loc.gov/rr/amed/Transliteration Page/TransliterationPage1.html). xxvii

Vowels and Diphthongs Persian

English

as in

a

hat

u

go

i

ten

ā

arm

ī

see

ū

too

aw

brown

ay

(no equivalent diphthong was found in English)

Consonants4 Persian

English

as in

b

bad

4

In Persian language there are a number of the consonants which have a different spelling but the same pronunciation (the same consonants have different pronunciations in Arabic). In the Library of Congress system of transliteration those letters are distinguished by dotted, double-dotted and underlined characters which help the readers familiar with Persian language, to recognise the correct spelling. xxviii

p

pen

t

tea

s

sit

j

Jack

ch

cheap

ḥ

him

kh

Bach (no equivalent in English)

d

dip

z

zoo

r

trilled ‘r’

z

zoo

zh

measure

s

sit

sh

she

ṣ

sit

z ̤

zoo

ṭ

tea

ẓ

zoo

‘

‘a’ with pressure on throat (no equivalent consonant in English)

gh

articulated further back than ‘g’ (no equivalent in English)

f

free

q

articulated further back than ‘q’ (no equivalent in English)

k

cat xxix

g

got

l

leg

m

man

n

no

v

voice

h

him

Notes: For short vowels not indicated in the script, the Persian vowels nearest the original pronunciation of the word are supplied in romanized. The two-letters symbols kh, gh, sh and zh are note combined by an underline. In case infrequent sequences of k, g, s and z followed by h an apostrophe ( ' ) is used to separate an independent h from a preceding of k, g, s and z (example maz'hab ī). The silent v ( ) preceded by an initial kh ( ) is not retained in transliteration (e.g. Nor ūzkhā n, rather than Nor ūzkhv ā n). The Persian suffix for the plural form “-ha” is retained instead of adding the English plural suffix “s” to a Persian word (e.g. dastgā h-ha rather than dastgā hs). Concerning person’s name, as a general rule, the named person’s own spelling is respected (e.g. Massoudieh rather than Mas‘ ūd ī yeh). Foreign words in a Persian context, including Arabic words, are romanized according to the rules of Persian (except the technical Arabic names used in rhythmic cycles).

xxx

Words in Arabic context are romanized according to the rules of Arabic. Transliteration of Arabic words follow the same rules as in Persian except following consonants: Arabic

English th dh ḍ

w

xxxi

Note on Historical Periods The country has always been known to its own people as Iran (land of the Aryans), although for centuries it was referred to as Persia by the Europeans, mainly due to the writings of Greek historians. In 1935 the government specified that it should be called Iran; however, in 1949 they allowed both names to be used. The table below shows the order of historical periods from Achaemenid up to now.5

Achaemenid Hellenistic Parthian Sasanian The advent of Islam Abbasid Samanid Ghaznavid Seljukid Mongol Timurid Ṣafavid Zandieh Qajar Pahlavi Islamic Republic

5

559–330 BCE 331 BCE–250 247 BCE–224 224–651 640–829 750–821 819–999 977–1186 1040–1157 1256–1394 1387–1502 1502–1736 1750–79 1794–1925 1925–79 1979–

The information on table is based on the Encyclopaedia Britannica. xxxii

Note on Music Notation This book employs two systems of notation. The first is a notation based on ancient Iranian musical sources which I mainly use to represent rhythms. This system is fully introduced and explored in Chapter Two. The second is Western notion in the way it is currently used in Iran. Elements of Western staff notation were adapted for notating Iranian music by Ali Naqi Vaziri in the 1920s. This idea was expanded to notate percussion instruments such as tombak in the 1960s by a group of Iranian music theorists and musicians under the editorial guidance of Ḥoseyn Dehlavi. Gradually, further signs for representing techniques on different instruments were added by various musicians. There are also some new signs specially used in this book for the first time which I will introduce wherever I use them. Other than songs transcribed by author, the music examples notated by the other musicians have been used with no change or re-notating. NB. Although I use staff notation and detailed note-by-note analysis, it is important to remember that this approach does not necessarily correspond to the way in which performers actually think of the music. For instance, the form of ornamentation known as taḥr ī r (discussed in Chapter Three, Section Five) will appear in staff notation as a series of main notes with grace notes, while a performer thinks of it more as continuous melodic line with a certain subjective quality.

xxxiii

Transcriptions observe the following conventions: Sign

or

Meaning

riz, tremolo riz or tremolo, especially as used in tombak notation Tie slur or phrase mark, particularly where one syllable is sung on more than one note

dorr āb -i set ā- i , two grace notes played immediately before the main note dorr āb -i panjt ā -i , four grace notes played immediately before the main note Accent

right-hand stroke left-hand stroke

koron: symbol that lowers the pitch by approximately one quarter tone sori : symbol that raises the pitch by approximately one quarter tone the pitch values of notes are not distinguishable (this is used in pieces transcribed by Massoudieh)

xxxiv

Glossary of Symbols and Terms Symbols : koron; symbol for half-flat, approximately 1/4 tone. This symbol was introduced by Ali Naqi Vaziri (1887-1979). : sori ; symbol for half-sharp, approximately 1/4 tone (introduced by Ali Naqi Vaziri.) : r ā st ; playing with right hand. : chap; playing with left hand. : juft ; right and left hands simultaneously. 

: short syllable.

– : long syllable.

: Alif ; smallest possible time which can be considered between two naqar ā t, equivalent to Ta. : Ba; two Alif , corresponding also to Tan. : Jim; three Alif , corresponding to Tanan. : d āl ; four Alif , corresponding to Tananan. : ha; five Alif , corresponding to Tanananan. : mī m; struck beat

Terms Abjad: special way of ordering the Arabic alphabet, which differs from its typical arrangement, such that the standard pattern (read from the right) of is transformed into .

34

Glossary of Symbols and Terms

Abū-at ā : one of the major subdivisions of dastgā h Shūr ; one of the five ā vā z-ha of Iranian classical music; its primary scale is G A B C D E F G. Abyā t: the plural form of beyt (see beyt ). Adw ā r: (pl. of dowr ), cycles; system in ancient Arabic and Persian music theory for representing both interval patterns (mode or scales) and rhythmic patterns. Af ā‘ ī l: trigram of “F-Æ-L” ( ) used to represent the pattern of verbs, noun and other components in Arabic grammar. In prosody, they are used to represent the rhythmic structure of poems. Afshā ri: one of the major subdivisions of dastgā h Shūr ; one of the five ā v āz -ha of Iranian classical music; its primary scale is F G A B C D( ) E F. Āl ā p: structured improvisation on a chosen r ā g which is the first part of any dhrupad (ancient vocal form in Hindustani music).

Aghā ni: Ket ā b al-aghā ni ; comprehensive book on music and musicians by Ab al-Faraj Isfahani (d. 988). Ar āq : gūsheh in dastgā h M ā hūr (also be played in Bayā t turk). Arkā n: (pl. of rukn) feet; fundamentals. ‘Ar ūz ̤ : collection of certain patterns for organising the number and order of short and long syllables in each hemistich; system of metric poetry requiring the consistency of a set pattern of long (-) and short () syllables; system by which a poem is judged to ascertain whether its rhythm is right or not. Asbā b: (pl. of sabab), see sabab. ‘ shūr ā: the tenth days of the holy month of Moharram, the first Ā month of the Islamic calendar, which marks the martyrdom of Imam Ḥoseyn, the grandson of Prophet Mohammad. Aṣl: main; authentic.


347

Assyrian: a member of a group of Semitic-speaking peoples of the Middle East and northern Africa; an extinct language of the Assyrians regarded as a dialect of Akkadian. Āst ān Q ūds: the organisation of the holy shrine of Imam Reza in Mashhad, Iran.

Aṣw āt : (pl. of ṣawt ), voice; tune. At ā nī n: a system for representing the rhythm by employing the nonsense syllables ta, na (each equivalent to one time unit) and tan, nan (each equivalent to two time units). Āv āz : literarily, song; subdivision of the dastgā h in contemporary Iranian radif ; free-metred section of a mode.

Avesta: the holy book of the Zoroastrians. Awt ād : (pl. of vatad ), see vatad. Azāḥif: (pl. of zehā f ), see zeḥā f . Azerbaijani: a gūsheh in dastgā h M ā hūr. Baḥr: sea; name referring to all the standard metric patterns in Persian and Arabic poetry. Bakhteyā rī : name of a region in central Iran; gūsheh in dastgā h Homā yūn. bā l ā dasteh: upper part of the neck of the t ā r and set ār ; low tetrachord of every scale. barbat: kind of lute. Baste-negā r: gūsheh which can be played in different dastgā h-ha. Bayā t Isfahā n: one of the major subdivisions of dastgā h Homā yun; one of the five ā vā z-ha of Iranian classical music; its primary scale is C D E F G A B C. Bayā t kurd: one of the subdivisions of dastgā h Shūr . Bayā t turk: one of the major subdivisions of dastgā h Shūr ; one of the five ā v āz -ha of Iranian classical music.

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Beyt: complete poetic line consisting of two equal hemistichs. Bī dā d: gūsheh in dastgā h Homā yun. Buḥūr: (pl. of bahr ), see bahr. Būshehr : province in southern Iran by the Persian Gulf. Chahā r pā reh: gūsheh in Abū-at ā and M ā hūr . Chahā r z ̤ arb: ancient rhythmic cycles consisting of twenty four naqar āt in the form Tananan Tananan Tananan Tananan Tananan Tananan. Chahā rgā h: one of seven dastgā h-ha in contemporary Iranian music; its primary scale is C D E F G A B C. Chahā rmez ̤ rā b : four strokes; an instrumental genre of compositions with fixed-metre. Chakā m (also in form of chakā mak): love-lyric or romantic story in the Sasanian period (224-651). Chang: harp. Dā nish N ām eh Al ā’ ī : book by Ibn S īnā (Avicenna 974-1037) in Persian which contains one chapter in music. Dar ām ad: introduction; first gūsheh in every dastgā h or ā vā z. Dasā t ī n: (pl. of dast ān ), see dast ān . Dasht ī: one of the major subdivisions of dastgā h Shūr ; one of the five ā vā z -ha of Iranian classical music; its primary scale is G A B C D( ) E F G. Dast afshā nī : dancing; Sufi dance. Dast ān : pattern of pitches; mode; frets on a fingerboard. Dastgā h: modal system; “a collection of melodic segments that share a common basic scale with its variations” (Miller 1999: 349). Daw ā yer: (pl. of d ā yereh ) circles. Dā yereh: circle.


349

Deilamā n: gūsheh in dasht ī. Dhrupad: in Hindustani music, ancient vocal musical form in four parts preceded by extensive introductory improvisation ( ā l ā p ) and expanded by rhythmic and melodic elaborations. Dour Ma’atayn: ancient rhythmic cycle consisting of two-hundred naqar āt reported by Abd al-Q ādir in Jāme‘ al-Alḥān. Dour Shā hi: ancient rhythmic cycle consisting of thirty or thirtyfour naqar āt in the form Tananan Tanan Tan Tan Tanan Tananan Tananan Tan Tan Tanan Tanan Tan. Faili: a gūsheh in Bayā t t ūrk. Fā kht ī : ancient rhythmic cycle consisting of four different versions: Fā kht ī aṣqar , which consists of five naqar ā t (Tanan Tan); Fā kht ī ṣaqī r, which is made up of ten naqar āt (Tan Tananan Tananan); Fā kht ī moz ̤ ā ‘af , composed of twenty naqar ā t (Tananan Tan Tananan Tananan Tan Tananan); and Fā kht ī az‘ ā f built upon forty naqar āt (by the double performance of the pattern of Fā kht ī moz ̤ ā‘ af ). Far‘: trivial. Farsakh: 120 miles. Farsi: Persian; the official language of Iran. Fā seleh: duration in poetic metre equivalent of three voweled consonants and a consonant, as in “be+ra+va+m.” Fav ā sel: (pl. of f ās eleh) see Fā seleh. For ūd: descent; conclusion; return to the first modal degree. Ghad īm : old; ancient. Ghameh-zanī : a gūsheh in dasht ī . Ghina’: music in general (Arabic). Gūsheh: a traditional repertory of melodies, melodic formula, tonal progressions, ornamentations and rhythmic patterns that serve

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as a model for improvisation; units which comprise each dastgā h or ā v āz .

Haft: seven. Hazaj: ancient rhythmic cycle consisting of two different versions: Hazaj awwal, which consists of ten naqar āt (Tanan Tan Tanan Tan), and Hazaj thā nī , which consists of six naqar āt (Tananan Tan). Ḥ arakat: movement, vowel point. Ḥ ij ā z: gūsheh in Abū-at ā.

Homā yun: one of the seven dastgā h-ha in contemporary Iranian music; its primary scale is G A B C D E F G. ī qā ‘: rhythm.

Isfahā n: large city in central Iran; one of the major subdivisions of dastgā h Humā yūn; one of the five ā vā z-ha of Iranian classical music; its primary scale is C D E( ) F G A B C. Ismā ’ī liyeh: branch of Sufism. Jad īd : new. J ā hiliyah: pre-Islamic period in Ḥ ij āz (currently Saudi Arabia). Kamā ncheh: unfretted spike fiddle (bowed) with four strings which is about the size of a viola. It is played resting upright on player’s lap. Kanz al-Tuḥaf: book on music theory and musical instruments in Persian written between 1341 and 1364, author unknown. Karbal ā: city in Iraq where the holy shrine of Imam Ḥoseyn is located. Karbzan: stone beating; ceremony of mourning. Ket āb khā neh: library.


351

khaf f ramal: ī ancient rhythmic cycle consisting of ten naqar ā t in the form Tan Tanan Tan Tanan. Khor ās ā n: large province in north-east Iran. Khosro and Shirin: a gūsheh in Abū-at ā. Kit āb al-adw ār : book of cycles; substantial book on Arabo-Persian music by Ṣaf ī al-D īn Abd al-Mu’min Urmaw ī (1216-94). Koron:

; flattened by a quarter tone.

M āh ūr: one of the seven dastgā h-ha in contemporary Iranian music; its primary scale is similar to the major scale in Western music. Majlis: gathering. Maqā sid al-Alhā n: old music theory in Persian language by Abd alQādir Marāqi (ca. 1367-1435). Mar ā wis: (pl. of Murwas), see Murwas. Masnav ī : poetic form; gūsheh in the poetic metre of Masnav ī played in different dastgā h-ha and ā vā z -ha, particularly Afshā rī . Mez ̤ rā b : plectrum on long-necked stringed instruments such as t ār and set ā r; hammers on the hammered dulcimer ( sant ūr ). Misra‘: hemistich. Mokhammas: poetic form; ancient rhythmic cycle consisting of three different versions: Mokhammas kabī r (the grand), Mokhammas owsat (the medium) and Mokhammas ṣaqī r (the small). Motoghayyer: changeable. Munfarid: simple. Murakkab: compound. Murwas: small double-headed cylinder drums. M ūsiqī : music. M ūsiqī -i aṣī l: indigenous or noble music. M ūsiqī -i dastgā hi: dastgā hi music.

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M ūsiqī -i rad fi: ī rad fi ī music. M ūsiqī -i sonnat ī : traditional music. Nagham: pitch; melody. Naghmeh-i avval: gūsheh in dastgā h Shūr . Naqar ā t : (pl. of naqareh), see naqareh. Naqareh: measurement of note values; smallest unit in a rhythmic cycle. Naṣirkhā nī : gūsheh in M āh ūr. Nav ā: one of the seven dastgā h-ha in contemporary Iranian music; its primary scale is C D E F G A B C. Ney: kind of vertical flute. Nimā ‘ī : new style of Persian poetry. Nor ūz: Iranian New Year; series of three gūsheh-ha in Rā stpanjgā h and Humā yūn. Oj: ascendance; the climax of a dastgā h or ā v āz . P ā’ ī n dasteh: high pitches. Pardeh: fret; mode. P ā yeh: fundamental; tonic; referring motif in chahā rmez ̤ r āb . P ī shdar ām ad: instrumental genre; rather long prelude in slow tempo played by Iranian orchestra as the opening piece; apparently first introduced by Gholām Hoseyn Darvish, known as Darvishkhān (1872-1926). Rad f: ī entire collection of gūsheh-ha in all the 12 modes (seven dastgā hha and five ā vā z -ha) as transmitted by an authorised master. Rā h-i Samā ‘: tune of Samā ‘ (dervishes dancing); old rhythmic cycle from Khorāsān Rajaz: poetic metrical pattern; ancient rhythmic cycle (see table of ‘Ar ūz ̤ in chapter one). Rā k: gūsheh in M āh ūr and Rā stpanjgā h


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Ramal: poetic metrical pattern (see table of ‘Ar ūz ̤ in chapter one); ancient rhythmic cycle consisting of twelve naqar āt in two different versions. The first version equals Tan Tan Tan Tan Tananan and the second version equals Tan Tan Tananan Tananan. Ramal thaqī l: ancient rhythmic cycle consisting of twenty-four naqar āt in the form Tananan Tananan Tan Tan Tan Tan Tan Tan Tananan. Rā st-panjgā h: one of the seven dastgā h-ha in contemporary Iranian music; its primary scale is similar to the major scale in Western music. Reng: instrumental genre in fixed-metre originally played to accompany dances. Risā leh M ūsī qī : music treatise in Persian written by ‘Abd al Raḥmān Jām ī in 1489. Sabab: duration in poetic metre equivalent of one voweled consonant and one additional consonant, as in “de+l .” Sang-zanī : stone beating; ceremony of mourning. Sasanian: ancient Iranian dynasty between 224–651 evolved by Ardashir I in years of conquest, AD 208-224, and destroyed by the Arabs during the years 637-51. ṣawt : sound; tune.

Sayakhī : gūsheh in Abū-atā Segā h: one of the seven dastgā h-ha in contemporary Iranian music; its primary scale is A B C D E F G A . Sepī d: new style of Persian poetry. Set ā r: long-necked, four-stringed lute with pear-shaped wooden body; fretted like the t ā r but played with the nail of the index finger. Shahā bi: a gūsheh in Bayā t t ūrk.

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Shā hid: witness; sweetheart; note which is the centre of attention in melodic phrases. It is comparable to the dominant in Western art music, but is not necessarily the fifth. Shahnā z: a gūsheh in Shūr . Shar ḥ-i Adw ār : clarifications of the cycles; old music treatise on cycles of modes and rhythm in Persian by Abd al-Qādir Marāqi (ca. 1367-1435) based on Ṣaf ī al-D īn’s Kit ā b al-Adw ār . Sharveh: vocal form song in different regions of Iran, particularly the south. Shi‘r: poem. Shekasteh: a gūsheh in M āh ūr and Bayā t t ūrk. Shi‘it: the second largest branch of Islam. Shūr: largest dastgā h in the set of the seven dastgā h-ha in contemporary Iranian music; its primary scale is G A B C D E

F G

sī neh-zanī : breast beating; ceremony of mourning. Sūz-o-god āz : a gūsheh in dasht ī . Tabriz: large city in north-west Iran. Taḥr ī r: falsetto break; cracking of the voice. In vocal music taḥr ī r takes the form of melisma and is characteristic of musical performance from Tibet to West Asia. Taqsī m: free-form melodic improvisation in Islamic music, performed by solo voice or instrument, often a lute, or by the principal instruments of an orchestra playing in succession. The taqsī m often forms the first movement of a suite (nawbah), a popular form in Arabic music. T ā r: long-necked lute with double belly, covered with sheepskin membrane. It has six strings, tuned in pairs, and twenty-six movable gut frets.


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Ṭ arab-angī z: a gūsheh in dastgā h M āh ūr .

Taṣnī f: most popular vocal form in Iranian classical music with a fixed-metre rhythm. T ā sū‘ ā: ninth day of Moharram, the first month in the Islamic lunar calendar. Tekiyeh: a grace note which is normally one step higher than the main note—sometimes more than one step higher, as governed by special rules of interpretation. Thaqī l awwal: ancient rhythmic cycle consisting of sixteen naqar ā t in the form Tanan Tanan Tananan Tan Tananan. Thaqī l thā nī : ancient rhythmic cycle consisting of sixteen naqar āt in the form Tanan Tanan Tan Tanan Tanan Tan. T ūsī : gūsheh in M āh ūr . Ū d: lute.

Umayyad: Arab dynasty which ruled the Empire of the Caliphate (661-750).

Vatad: duration in poetic metre equivalent of a pair of two voweled consonants and a one consonant, as in “ de+la+m.” Wazn: weight; rhythm. Zā bol: gūsheh in Segā h and Chahā rgā h. Zang-i Shotor: gūsheh in Segā h and Homā yun. Zanj ī r-zanī : chain beating; ceremony of mourning. Z ̤ arb fat ḥ: ancient rhythmic cycle consisting of fifty naqar āt in the form Tanan Tanan Tananan Tananan Tanan Tanan Tananan Tanan Tanan Tananan Tananan Tananan Tananan Tananan. Z ̤ arb Jad ī d: an ancient rhythmic cycle consisting of fourteen naqar ā t in the form Tananan Tananan Tanan Tanan. Zeḥā f: name referring to each of the varied forms of bohūr in Persian and Arabic poetry.

People Index Alizādeh, Ḥoseyn 86 Aristotle, 49 Arom, Simha 52 Bārbad, 106 Bar-Yosef, A, 57, 58 Benjamin, William E. 59 Bergson, 50 Berlioz, Hector 145, 146 Binesh, Taghi xi, xii, xiii, xx, 103, 110, 115, 116, 118, 122, 123, 124, 126, 127, 130, 132, 133, 245, 268, 332, 341, 342 Bregman, Albert, S.66 Brown, Edward G 71, 256 Caron, Nelly 226 Caton, Margaret Louis xviii, 35, 255, 258, 259, 265, 267 Clark, Eric ii Clayton, Martin 52, 54, 71, 72 Cone, Edward T. 65 Cooper, Grosvenor W. 255, 58, 66, 67, 68 Darvishi, Mohammad Reza 64 Dehlavi, Ḥoseyn x, xxxiii, 35, 78, 84, 211, 254, 278, 282 Dowling, W. 39 Dunstan, 120 During, Jean xiii, xiv, xv, xvi, xvii, xviii, xix, 68, 202, 206, 214, 219, 233, 246, 250, 257, 258, 270, 290, 319 Ellingson, Ter 74 Elwell-Sutton, Laurence Paul 79, 81, 91, 213 Epstein, David 58 Fakhreddini, Farhād xx, 35, 123, 188, 282, 341, 342 Fakhr ī, 145

Farhat, Hormoz 35, 36, 77, 150, 151, 175, 188, 212, 222, 239, 242, 246, 257, 266 Farmer, Henry George xx, 35, 36, 79, 106, 107, 341, 342, 343 Fassler, M. 48 Ferand, Ernst 144, 145 Handel, George Frideric 66 Harwood, 67 Hasty Christopher, Francis 50, 51, 52, 54, 96 Hauptmann, N. 54 Haydn, x, 59, 60, 64 Heusler, Andreas 49 Hirsh, I. 66 Ibn ‘Abd Rabbih, 79 Ibn Sina, 36 Imbrie, Andrew 56 Isfahani, 79, 346 Jaeger, Werner 48 Johnson-Laird, P. 54 Kamien, R. 218 Kerbage, Toufic x, 62 Khāleqi, Ruh-Allah xvii, 240, 241, 256, 260, 282 Kolinski, Mieczyslaw 54 Komar, Arthur J. 56 Kouhestāni, Masoud 257 Kramer, Jonathan D. x, 58, 59, 60, 62, 63, 64, 65, 74 Kuckertz, Josef. x, 64, 71 Lerdahl, Fred 51, 56, 57, 58, 66, 67, 74 Lester, Joel 56, 57 Levin, Theodore 258 List, George 72 Lomax, Alan 145

Rhythmic Structure in Iranian Music

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