Rhythmic Structure in Iranian Music

AzadehfarTypewritten TextMohammad Reza Azadehfar

AzadehfarTypewritten Text




Rhythmic Structure in

Iranian Music

Mohammad Reza Azadehfar

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 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.

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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 awt Khatm ......................................................................................................................... 61 asan bi zahr kosht-i shud, oseyn bi shamshr-i jaf (asan was killed by poison, oseyn by oppressions sword) .................................................................... 63

PERCEPTION AND THE CONCEPT OF GROUPING ................ 65

GROUPING IN LP AND WIDDESSS 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

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4. Extremely Long Syllable ................................................................................................... 82 5. Diphthong Vowel ................................................................................................................... 83

STRESS ........................................................................................................ 83 CONTEMPORARY CATEGORISATION OF PERSIAN POEMS . 85

ARZ .............................................................................................. 88

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

ATNN ..................................................................................................... 98 ADWR (CIRCLES/CYCLES) .................................................................... 100

THE DOCUMENTED RHYTHMIC CYCLES ............................. 105

THAQL AWWAL ..................................................................................... 110 THAQL THN ........................................................................................ 112 KHAFF THAQL ...................................................................................... 113 RAMAL ..................................................................................................... 116

THAQL RAMAL ....................................................................................... 118 KHAFF RAMAL ........................................................................................ 120 HAZAJ ...................................................................................................... 122

FKHT .................................................................................................... 123 TURK ...................................................................................................... 126 MOKHAMMAS .......................................................................................... 129

CHAHR Z ARB ......................................................................................... 131 OTHER CYCLES ....................................................................................... 132

GENERAL DISCUSSIONS AND CONCLUSION ........................ 135

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PART TWO

CHAPTER 3 RHYTHMIC STRUCTURE OF THE RADF AND IMPROVISATION-BASED MUSIC ................ 143 IMPROVISATION AND THE CONCEPT OF THE RADF .......... 143

INTRODUCTION ......................................................................................... 143

THE CONCEPT OF RADF .......................................................................... 148 Dastgh ................................................................................................................................................ 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 RADF ......................... 175 FIXED METRE ............................................................................................ 175

arb ...................................................................................................................................................... 176 Majlis afrz ...................................................................................................................................... 178 Sq-nmeh, Koshteh-mordeh and f-nmeh ......................................................... 180 Gereyli .................................................................................................................................................. 188 Zang-i shotor ................................................................................................................................... 192 Zangleh ............................................................................................................................................. 197

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STRETCHABLE OR ELASTIC METRE .......................................................... 201 Chahr-preh ................................................................................................................................... 201 Kereshmeh .......................................................................................................................................... 205

FREE METRE .............................................................................................. 211 Regularity in Phrasing and Metric Balance ................................................................... 211

Dobeyt ............................................................................................. 212 Irregularity in phrasing ............................................................................................................... 218

Mokhlef ........................................................................................... 218 TARR ........................................................................................... 223 CONCLUSIONS .............................................................................. 235

CHAPTER 4 RHYTHMIC STRUCTURE IN PRE-COMPOSED GENRES ...................................................................................... 239 INTRODUCTION ........................................................................... 239

PSHDARMAD .............................................................................. 240 CHAHRMEZRB .......................................................................... 245

Chahrmezrb Homyn ......................................................................................................... 249 Chahrmezrb Bayt Turk ..................................................................................................... 251

TASNF ............................................................................................. 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 ISMILI ........................................................................................... 302 CLOSING STATEMENT ................................................................. 321

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Appendix 1 REPRESENTATION AND TRANSCRIPTION OF RHYTHM IN PERSIAN MUSIC ........................... 331

SABAB, VATAD AND FSELEH ................................................................... 331 AFL .......................................................................................................... 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 awt 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: asan bi zahr kosht-i shud, oseyn bi shamshr-i jaf: religious song of Bushehr, recorded and transcribed by Mohammad T. Massoudieh and Josef Kuckertz at the Behbahn mosque (1976: 113) ........................................................................................................................................... 64

Figure I.6: Prescribed version of Masnav mokhlef in Dastgh Segh from the radf of Sab (1980: 20) corrections by Mr. Naimimanesh (Isfahan conservatory 7 May 1985) ....................................................................... 69

Figure I.7: Transcribed version of the Masnav mokhlef in Dastgh Segh performed by M. Azadehfar ........................................................................ 70

Figure I.8: Srat Ysuf (The Verses of Joseph), Quran (12/1-5) presented by Shaikh Abd al-Bset Abd al-Samad (transcription: Stock 1996b: 41) ............................................................................................................... 71

Figure I.9: Illustration of pulse in the beginning of lp 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

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Figure 1.5: An example of the metric pattern in a Nim poem ...................... 86 Figure 1.6: An example of the metric pattern in a Sepd poem ......................... 87 Figure 1.7: Bur of Arz .................................................................................................... 89 Figure 1.8: Analysis of the pattern of shorts and longs in a poem in bar 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 Azif of bar 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 atnn ..... 100 Figure 2.2: Dividing the cycle by and dots, the approach used by af al-

Dn and Abd al-Qdir ................................................................................................. 101 Figure 2.3: Comparing the cyclic system with the system of atnn ................ 101 Figure 2.4: Representing the rhythmic pattern of Sharveh by the adwri

approach ................................................................................................................................. 102 Figure 2.5 Dividing the cycle using three different lines, the approach of

Qub al-Dn Shrz in Durrat al-Tj ................................................................. 75 Figure 2.6 Dividing the cycle by line and dots, as presented in Kanz al-

Tuaf (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 Thaql awwal on Helix

(presented by author based on Pressing graphic) ............................................ 104 Figure 2.9: Thaql awwal ....................................................................................................110 Figure 2.10: The cycle of Thaql awwal in manuscript of al-Adwr (p. 80) . ,111 Figure 2.11: The cycle of Thaql awwal in manuscript of Durrat al-Tj (Mishkt 1945: 139) .................................................................................................................. 111 Figure 2.12: Thaql thn ......................................................................................................... 112

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Figure 2.13: The cycle of Thaql thn in the manuscript of al-Adwr (p. 82) 113 Figure 2.14: The cycle of Thaql thn in the manuscript of Durrat al-Tj

(Mishkt 1945: 139) ..................................................................................................... 113 Figure 2.15: Khaff thaql ........................................................................................................ 114 Figure 2.16: The cycle of Khaff thaql with sixteen naqart in the

manuscript of Djmi al-Aln (Binesh 1987: 219)................................... 115 Figure 2.17: The cycle of Khaff thaql with eight naqart in the

manuscript of Rislah al-Sharafiyah (p.128) .................................................. 115 Figure 2.18: The cycle of Khaff thaql with four naqart in the

manuscript of Durrat al Tj (Mishkt 1945: 139) ...................................... 116 Figure 2.19: Ramal, first version, based on the Rislah al-Sharafiyah,

Durrat al Tj, Maqid al-Aln and Djmi al-Aln .......................... 117 Figure 2.20: Ramal, second version, based on Djmi al-Aln by Abd

al-Qdir and Risleh Msq by Jm ................................................................. 117 Figure 2.21: Ramal, third version, based on Rislah al-Sharafiyah and

Durrat al Tj ...................................................................................................................... 117 Figure 2.22: The cycle of Ramal in Maqid al-Aln by Abd al-Qdir

(Binesh 1978: 95) ............................................................................................................ 118 Figure 2.23: The cycle of Ramal in Rislah al-Sharafiyah (p129) ................ 118 Figure 2.24: Thaql ramal ....................................................................................................... 119 Figure 2.25: The cycle of Thaql ramal in the manuscript of al-Adwr (p. 87)120 Figure 2.26: The cycle of Moz af ramal (Thaql ramal) in the manuscript

of Rislah al-Sharafiyah (p. 130) .......................................................................... 120 Figure 2.27: Khaff ramal ....................................................................................................... 121 Figure 2.28: The cycle of Khaff ramal in the manuscript of Durrat al-Tj

by Qub al-Dn Shrz (Mishkt 1945: 140) ............................................. 121 Figure 2.29: Hazaj awwal ...................................................................................................... 122 Figure 2.30: Hazaj thn ......................................................................................................... 122

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Figure 2.31: The cycle of Hazaj kabr (awwal) and Hazaj aghr (thn) from the manuscript of Djmi al-Aln by Abd al-Qdir (Binesh 1987: 231) ........................................................................................................................... 123

Figure 2.32: Fkht moz af ................................................................................................... 125 Figure 2.33: The cycle of Fkht kabr (moz af) in the manuscript of

Djmi al-Aln by Abd al-Qdir (1987: 222) .......................................... 125 Figure 2.34: Turk al ghadm............................................................................................. 126 Figure 2.35: Turk al jadd .................................................................................................. 127 Figure 2.36: Eight different versions of Turk in manuscript of Djmi al-

Aln by Abd al-Qdir (1987: 225) .................................................................. 128 Figure 2.37: Turk, based on the version reported by Qub al-Dn Shrz

in Durrat al-Tj ............................................................................................................... 129 Figure 2.38: Mokhammas owsa ......................................................................................... 130 Figure 2.39: Cycle of three different versions of Mokhammas in manuscript of

Djmi al-Aln by Abd al-Qdir (Binesh 1987: 226) ................................... 130 Figure 2.40: Chahr zarb with 24 naqart ................................................................... 131 Figure 2.41: Extended pattern of Chahr z arb by Abd al-Qdir in

Djmi al-Aln (Binesh 1987: 224) .................................................................. 132 Figure 2.42: Three cycles exclusively reported by Qub al-Dn Shrz in

Durrat al-Tj ..................................................................................................................... 133 Figure 2.43: Five cycles created by Abd al-Qdir Margh ............................... 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 gsheh of Bakhteyr (Sab 1959: 11) ................................................................................................... 160 Figure 3.3: More complex melody type of Masnav in the dastgh of Shr and its decoration and modulation (Massoudieh 2000: 27) ..................... 161 Figure 3.4: Baste-negr in Ab-at from the radf of Mirz Abdullh (During 1991: 125) .................................................................................................................... 163

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Figure 3.5: Baste-negr in Bayt turk from the radf of Mirz Abdullh (During 1991: 137) ............................................................................................. 163 Figure 3.6: Baste-negr in Bayt kord from the radf of Mirz Abdullh (During 1991: 158) ............................................................................................. 163 Figure 3.7: The significance of a two-bar motif in the gsheh of Sayakh from the radf of Sab (1985: 11) ................................................................... 164 Figure 3.8: Naghmeh-i avval in Shr from the radf of Mirz Abdullh (During 1991: 89-90) ........................................................................................ 166 Figure 3.9: Chahr preh in Mhr from the radf of Mirz Abdullh (During 1991: 221) .................................................................................................................... 167 Figure 3.10: Chahr preh in vz of Ab-at with decorations and ornamentations (Massoudieh 2000: 44-51) .................................................................. 169 Figure 3.11: Sz o godz in Bayt Isfahan from the radf of Mirz Abdullh (During 1991: 273) ............................................................................................. 171 Figure 3.12: Bounding the range of tones in the gsheh of Bdd from the radf of Sab (1959: 9) ...................................................................................................... 173 Figure 3.13: Bounding the piece by melodic shape, as seen in the gsheh of s from the radf of Sab (1981: 10) ..................................................................... 174 Figure 3.14: Reng-i arb in Mhr from the radf of Mirz Abdullh (transcribed by During 1991: 235-7) ............................................................................... 177 Figure 3.15: First few lines of reng-i arb in Mhr, prescriptive transcription of Farmarz Pyvar for santr (1961: 28) ...................................... 178 Figure 3.16: Majlis afrz in Mhr from the radf of Mirz Abdullh (transcribed by During 1991: 212) ..................................................................................... 179 Figure 3.17: Majlis afrz in Mhr from the radf of Sabthis gsheh also called Khrazmi in this radf (1981:7) ................................................. 180 Figure 3.18: Sq-nmeh, Koshteh-mordeh, and f-nmeh in Mhr from the radf of Mirz Abdullh as played by Boroumand (transcribed by During 1991: 240-4115) ................................................................................................. 182 Figure 3.19: Sq-nmeh in Mhr from the radf of Karimi (transcribed by Massoudieh 2000: 177)........................................................................... 183

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Figure 3.20: Comparison of the first bar in Mirz Abdullhs and Karimis versions of Sq-nmeh, ........................................................................................ 184 Figure 3.21: Koshteh, in Mhr from the radf of Karimi (transcribed by Massoudieh 2000: 178) ..................................................................................................... 184 Figure 3.22: f-nmeh in Mhr from the radf of Karimi (transcribed by Massoudieh 2000: 178-79) .................................................................. 185 Figure 3.23: Sq-nmeh in Mhr from the radf of Sab (1981: 28-9) .......... 186 Figure 3.24: Comparing the basic rhythmic pattern in Sq-nmeh, f-nmeh and Koshteh-mordeh with the poetic pattern of motaqrib ....... 187 Figure 3.25: First three lines of Gereyli in Shr from the radf of Mirz Abdullh (transcribed by During 1991: 105) ............................................................. 189 Figure 3.26: Gereyli in Shr from the radf 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 Rst-panjgh from the radf of Mirz Abdullh (transcribed by During 1991: 298-9) ........................................................ 193 Figure 3.30: Zang-i shotor in Homyn from the radf of Mirz Abdullh (transcribed by During 1991: 245-4) ........................................................ 194 Figure 3.31: Zang-i shotor qadm in Segh from the radf of Sab (1980:19) .......................................................................................................................................... 195 Figure 3.32: Zang-i shotor in Segh performed by Toghnian (transcribed by Azadehfar) ...................................................................................................... 197 Figure 3.33: Zangleh in Mhr from the radf of Mirz Abdullh (transcribed by During 1991: 225) ..................................................................................... 198 Figure 3.34: Zangleh in Chahrgh from the radf of Sab (1980:19) ..... 199 Figure 3.35: Zangleh in Mhr from the radf of Sab (1980:19) .............. 199 Figure 3.36: Chahr-bgh in Ab-at from the radf of Sab (1985: 16) ......... 203 Figure 3.37: Narkhn in Mhr from the radf of Karimi (transcribed by Massoudieh 2000: 169) ..................................................................................................... 204

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Figure 3.38: The Arz i cycle of Kmil, the basis of rhythmic pattern of Chahr-preh .................................................................................................................................. 205 Figure 3.39: Kereshmeh in Mhr from the radf of Mirz Abdullh (transcribed by During 1991: 210) ..................................................................................... 206 Figure 3.40: The rhythmic pattern of the instrumental version of Kereshmeh .. 206 Figure 3.41: Kereshmeh in Shr from the radf of Karimi (transcribed by Massoudieh 2000: 13) ........................................................................................................ 207 Figure 3.42: Kereshmeh in Shr performed by Shajarian in Deylamn (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 Thaql awwal .............. 210 Figure 3.45: Representing the rhythmic pattern of Kereshmeh in a cycle ..... 210 Figure 3.46: Dobeyt in Shr from the radf of Mirz Abdullh (the original transcription by During 1991: 235-7) ........................................................... 214 Figure 3.47: Dobeyt in Shr from the radf of Karimi (original transcription by Massoudieh 2000: 21) ........................................................................... 215 Figure 3.48: Dobeyt in Shr from the radf of Sab (after Sab 1980: 33) ..... 216 Figure 3.49: The Arzi cycle of Hazaj, the basis of the rhythmic pattern of Dobeyt ......................................................................................................................... 216 Figure 3.50: A poem by Bb her in the form of Dobeyt and analysis of its rhythmic structure .......................................................................................... 217 Figure 3.51: Mokhlef in Segh from radf of Mirz Abdullh (transcription by During 1991: 171-72) ......................................................................... 219 Figure 3.52: Mokhlef in Segh from the radf of Karimi (transcription by Massoudieh 2000: 133) ..................................................................................................... 220 Figure 3.53: Mokhlef in Segh from the radf of Sab (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 santr player (Sab 1980: 5-7) ........................................................................................................................................ 225 Figure 3.56: Tekiyeh and its common realisation (Pyvar 1961:41) ............ 226 Figure 3.57: Tarr in dastgh Shr performed by Shajarian in Khalvat guzdeh (1981, transcribed by Azadehfar) ..................................................................... 227 Figure 3.58: Gham-angiz in Dasht from the radf of Sab (1985: 30-31) ... 229 Figure 3.59: Gham-angiz in Dasht from the radf of Karimi (transcribed by Massoudieh 2000: 73) ............................................................................. 230 Figure 3.60: Baghdadi in Ab-at from the radf of Sab (1985: 13) ......... 231 Figure 3.61: vz (darmad) of Afshri from the radf of Sab (1985: 17) ... 232 Figure 3.62: Darmad of Afshri from the radf of Karimi (transcribed by Massoudieh 2000: 79) ........................................................................................................ 232 Figure 3.63: Darmad of Afshri from the radf of Mirz Abdullh (transcribed by During 1991: 144) ..................................................................................... 233 Figure 4.1: Gholm oseyn Darvish, (Darvishkhn) the innovator of pshdarmad (photo, Ruh-Allah Khleqi 1974) ........................................................ 241 Figure 4.2: Pshdarmad Mhr by Darvishkhn (Tahmsbi 1998: 11-12) ... 244 Figure 4.3: Some popular techniques of mez rb in chahrmez rb-ha (derived from different works of master Farmarz Pyvar) ................................. 248 Figure 4.4: Chahrmez rb of Homyn from the radf of Mirz Abdullh (transcribed by During 1991: 244) ............................................................. 250 Figure 4.5: Chahrmez rb of Bayt turk (Pyvar 1990: 25-30)..................... 252 Figure 4.6: Ab al-Ghsem ref Qazvini, one the distinguished creators of tanf on political issues (photo, Ruh-Allah Khleqi 1974) .......................... 256 Figure 4.7: Ali Akbar Sheyd, the most distinguished tanf composer of the nineteenth and early twentieth centuries (photo, Ruh-Allah Khleqi 1974) ...... 260 Figure 4.8: Tanf Amn by Sheyd (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 Amn ............................................................................................................................................. 263

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Figure 4.10: Simplification of the pyeh (rhythmic ostinato) in the first part of Amn ................................................................................................................................... 263 Figure 4.11: Comparison of the main rhythmic phrase in the first and second parts of Amn .................................................................................................................. 264 Figure 4.12: Comparison of the pyeh in the first and second parts of Amn .. 264 Figure 4.13: Classical Persian dancer in special costume (Margaret Caton and Neil Siegel 1986) ................................................................................................. 267 Figure 4.14: Reng Zarb-i ol from the radf of Mirz Abdullh (transcription by During 1991: 103-5) ........................................................................... 270 Figure 4.15: Similarity between the cycle Z arb-i al as reported in Durrat al-tj by Qub al-Dn Shrz with the Reng Z arb-i ol .................. 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 mineh technique, type 1....................................................................... 280 Figure 5.5: The mineh 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 oseyn Tehrani (1992) ....................................................................................................... 285 Figure 5.10: The process of deriving rhythmic pattern of tombak from the rhythmic cycle of Chahr-preh .................................................................................... 286 Figure 5.11: The Arzi cycle of Kmil, the basis of rhythmic pattern of Chahr-preh .................................................................................................................................................. 286 Figure 5.12: The main rhythmic motif in Zang-i shotor performed by Toghnian (transcribed by Azadehfar) ............................................................................. 287 Figure 5.13: Rhythmic pattern of Toghnians version of Zang-i shotor for tombak (prescriptive transcription by Azadehfar) ............................................... 287

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Figure 5.14: Simplification and transformation of the rhythmic pattern of some of the fixed-metre gsheh-ha in the tombak style (prescriptive transcription by Azadehfar) .................................................................................................... 288 Figure 5.15: Dobeyt in Shr from radf of Mirz Abdullh (after During 1991: 235-7) ................................................................................................................. 290 Figure 5.16: Transformation of the gsheh of Dobeyt from free metre into fixed metre .............................................................................................................................. 291 Figure 5.17: Contrapuntal tombak line corresponding to the rhythmic pattern of the gsheh of Dobeyt (prescriptive transcription by Azadehfar) ......... 292 Figure 6.1: Farhang Sharif, tr performer ...................................................................... 303 Figure 6.2: Mohammad Ismili, tombak performer ................................................. 303 Figure 6.3: The opening section, improvisation based on the darmad of Shr and Khr performed by Farhang Sharif on tr .............................................. 304 Figure 6.4: A comparison between the phrases in the opening section, performed by Farhang Sharif on tr ................................................................................... 306 Figure 6.5: Section two, pshdarmad in dastgh Shr ........................................... 308 Figure 6.6: The main pyeh of the melodic line in pshdarmad ...................... 309 Figure 6.7: The main pyeh of the percussion line in pshdarmad ................ 309 Figure 6.8: Section four, fragment of first chahrmez rb ........................................ 311 Figure 6.9: Interaction between Mohammad Ismili and Farhang Sharif (note how they intently look at each others hands) ................................................... 313 Figure 6.10: Section six, second chahrmez rb, opening section and a fragment from 357 .................................................................................................................... 315 Figure 6.11: Comparison between the rhythmic pattern of the gsheh of Gereyli and the rhythmic pattern of a selected part of the chahrmez rb presented by Farhang Sharif ................................................................................................... 316 Figure 6.12: Section eight, third chahrmez rb, opening section and a fragment from 510 .................................................................................................................... 317 Figure 6.13: The rhythmic pattern of the vocal version of Kereshmeh as presented in Chapter Three ...................................................................................................... 318

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Figure 6.14: Simplified rhythmic pattern of vocal version of Kereshmeh as performed by Sharif in the third chahrmez rb ...................................................... 319 Figure Ap1.1: Asbb, avtd and favsel in manuscript of Shar-i Adwr by Abd al-Qdir (reported by Binesh 1991: 255) .................................... 332 Figure Ap1.2: Sharveh, a song from Bshehr, transcribed into sabab, vatad and fseleh............................................................................................................................ 333 Figure Ap1.3: The main eight afl .................................................................................. 334 Figure Ap1.4: Representing the song text of Sharveh with afl................ 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 atnn and naqart ........ 338 Figure Ap1.8: Transcribing Sharveh based on Abjad ......................................... 339 Figure Ap1.9: arqeh (fi al-qadm) Yurifu bi-mojannab al-ramal from the manuscript of al-Adwr (p. 94)........................................................................ 340 Figure Ap1.10: arqeh Yurifu bi-mojannab al-ramal from the manuscript of Rislah al-Sharafiyah (p. 135) .............................................................. 340 Figure Ap1.11: Tanf dar pardeh Hoseyn dar duwr-i ramal reported in Maqid al-Aln................................................................................................................... 341 Figure Ap1.12: Tanf dar pardeh Hoseyn 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: arqeh f al-Ramal Guwsht from the manuscript of al-Adwr (pp. 93-4) ................................................................................................................... 342 Figure Ap1.14: arqeh f al-Ramal Guwsht transcribed to Western notation by Farmer (1986: 60) ............................................................................................ 343

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Contents of the CDs1 Two audio CDs accompany this book. CD1 is examples performed on santr and tombak by the author. All pieces performed on santr in this CD are from the radf of Sab 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 mokhlef in dastgh Segh Track 2 Bakhteyr in dastgh Homyn Track 3 Sayakh in vz Ab-at Track 4 Bdd in dastgh Homyn Track 5 s in Mhr Track 6 Reng-i arb in Mhr, a version by Farmarz Pyvar for santr Track 7 Majlis afrz in Mhr Track 8 Sqi-nmeh in Mhr Track 9 Zang-i shotor qadm in Segh Track 10 Zangleh in Chahrgh Track 11 Zangleh in Mhr Track 12 Chahr-bgh in Ab-at Track 13 Dobeyt in Shr Track 14 Mokhlef in Segh Track 15 Some techniques of santr in Western notation Track 16 Tekiyeh Track 17 Gham-angiz in Dasht Track 18 Baghddi in Ab-at

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

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Track 19 vz (darmad) of Afshri Track 20 Chahrmezrb of Bayt turk composed by Pyvar Track 21 Tombak notation Track 22 Rhythmic pattern of Toghnians version of Zang-i shotor (on

tombak) Track 23 Rhythmic pattern of arb (on tombak) Track 24 Rhythmic pattern of Majlis afrz (on tombak) Track 25 Rhythmic pattern of Sqi-nmeh (on tombak) Track 26 Rhythmic pattern of Gereyli (on tombak) Track 27 Rhythmic pattern of Zangleh (on tombak) Track 28 Mokhammas aghr, 4 naqart (on tombak) Track 29 Fkht aghar and Far Far Turk (Shar-i Adwr), 5 naqart (on

tombak) Track 30 Zarb Fath (Djmi al-Aln), 5 naqart (on tombak) Track 31 Hazaj thn, 6 naqart (on tombak) Track 32 Turk sar, 6 naqart (on tombak) Track 33 Khaff thaql (Sharafiyah), 8 naqart (on tombak) Track 34 Mokhammas owsat, 8 naqart (on tombak) Track 35 Khaff ramal, 10 naqart (on tombak) Track 36 Hazaj awwal, 10 naqart (on tombak) Track 37 Fkht aghr and Turk khaff (Djmi al-Aln), 10 naqart (on

tombak) Track 38 Unnamed cycle (Durrat al-Tj), 10 naqart (on tombak) Track 39 Turk (Durrat al-Tj), 12 (14) naqart (on tombak) Track 40 Ramal (version 1) and Turk khaff (Risleh Msq), 12 naqart

(on tombak) Track 41 Ramal (version 2) and Zarb al or Zarb rst (Durrat al-Tj), 12

naqart (on tombak)

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Track 42 Ramal (version 3, in Sharafiyah: khaff ramal), 12 naqart (on tombak)

Track 43 Ramal (Adwr), 12 naqart (on tombak) Track 44 Zarb Jadd (Djmi al-Aln), 14 naqart (on tombak) Track 45 Thaql awwal, 16 naqart (on tombak) Track 46 Thaql thn and Mokhammas kabr, 16 naqart (on tombak) Track 47 Khaff thaql, 16 naqart (on tombak) Track 48 Khaff (Durrat al-Tj), 16 naqart (on tombak) Track 49 Fkht mozaf, 20 naqart (on tombak) Track 50 Turk al jadd, 20 naqart (on tombak) Track 51 Thaql ramal, 24 naqart (on tombak) Track 52 Thaql ramal (Sharafiyah, Durrat al-Tj),24 naqart (on tombak) Track 53 Turk al ghadm, 24 naqart (on tombak) Track 54 Chahr zarb, 24 naqart (on tombak) Track 55 Fkht azf, 40 naqart (on tombak) CD2: Track 1 Srat Ysuf from Quran presented by Shaikh Abd al-Bset

Abd al-Samad

Track 2 Sharveh vocal song from Bshehr Track 3 Improvisation based on the gsheh of Shekasteh in a private

lesson by Nour Ali Boroumand

Track 4 Performing the gsheh of Shekasteh in a private lesson by Boroumand

Track 5 Masnav in dastgh of Shr by Mahmud Karimi Track 6 Baste-negr in Ab-at from the radf of Mirz Abdullh

performed by Boroumand

Track 7 Baste-negr in Bayt turk from the radf of Mirz Abdullh performed by Boroumand

Track 8 Baste-negr in Bayt kord from the radf of Mirz Abdullh performed by Boroumand

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Track 9 Naghme-ye avval in Shr from the radf of Mirz Abdullh performed by Boroumand

Track 10 Chahr preh in Mhr from the radf of Mirz Abdullh performed by Boroumand

Track 11 Chahr preh in vz of Ab-at by Mahmud Karimi Track 12 Sz o godz in Bayt Isfahan from the radf of Mirz Abdullh


Track 13 Reng-i arb in Mhr from the radf of Mirz Abdullh performed by Boroumand

Track 14 Majlis afrz in Mhr from the radf of Mirz Abdullh performed by Boroumand

Track 15 Sqi-nmeh, Koshteh-mordeh, and ufi-nmeh in Mhr from the radf of Mirz Abdullh performed by Boroumand

Track 16 Sqi-nmeh in Mhr by Mahmud Karimi Track 17 Koshteh in Mhr by Mahmud Karimi Track 18 ufi-nmeh in Mhr by Mahmud Karimi Track 19 Gereyli in Shr from the radf of Mirz Abdullh performed by

Boroumand

Track 20 Gereyli in Shr by Mahmud Karimi Track 21 Zang-i shotor in Rst-panjgh from the radf of Mirz Abdullh


Track 22 Zang-i shotor in Homyn from the radf of Mirz Abdullh performed by Boroumand

Track 23 Zang-i shotor in Segh performed by Toghnian Track 24 Zangleh in Mhr from the radf of Mirz Abdullh performed

by Boroumand

Track 25 Nasrkhn in Mhr by Mahmud Karimi Track 26 Kereshmeh in Mhr from the radf of Mirz Abdullh


Track 27 Kereshmeh in Shr by Mahmud Karimi

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Track 28 Kereshmeh in Shr performed by Shajarian Track 29 Dobeyt in Shr from the radf of Mirz Abdullh performed by

Boroumand

Track 30 Dobeyt in Shr by Mahmud Karimi Track 31 Mokhlef in Segh from the radf of Mirz Abdullh performed

by Boroumand

Track 32 Mokhlef in Segh by Mahmud Karimi Track 33 Tarr in dastgh Shr performed by Shajarian Track 34 Gham-angiz in Dasht by Mahmud Karimi Track 35 Darmad of Afshri by Mahmud Karimi Track 36 Darmad of Afshri from the radf of Mirz Abdullh


Track 37 Pshdarmad Mhr by Darvishkhn performed by an orchestra of Iranian master musicians, conducted by Farmarz Pyvar

Track 38 Chahrmezrb of Homyn from the radf of Mirz Abdullh performed by Boroumand

Track 39 Tanf Amn by ref presented by Shajarian Track 40 Reng Zarb-i ol from the radf of Mirz Abdullh performed

by Boroumand

Track 41 Reng Zarb-i ol, orchestrated version by Parviz Meshkatian Track 42 Darmad of Shr performed by Farhang Sharif Track 43 Pshdarmad in dastgh Shr performed by Farhang Sharif and

Mohammad Ismaili

Track 44 First chahrmezrb performed by Farhang Sharif and Mohammad Ismaili

Track 45 Second chahrmezrb performed by Farhang Sharif and Mohammad Ismaili

Track 46 Third chahrmezrb performed by Farhang Sharif and Mohammad Ismaili

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Map of Iran2

2 Map from: www.nationalgeographic.com

xxvii

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 instead of sh (as in shop) and 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 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).

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Vowels and Diphthongs

Persian English as in

a hat

u go

i ten

arm see

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.

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p pen

t tea

s sit

j Jack

ch cheap

him kh Bach (no equivalent in English)

d dip

z zoo

r trilled r

z zoo

zh measure

s sit

sh she

sit z zoo tea 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

xxx

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). The silent v ( ) preceded by an initial kh ( ) is not retained in transliteration (e.g. Norzkhn, rather than Norzkhvn). The Persian suffix for the plural form -ha is retained instead of adding the English plural suffix s to a Persian word (e.g. dastgh-ha rather than dastghs). Concerning persons name, as a general rule, the named persons own spelling is respected (e.g. Massoudieh rather than Masdyeh). 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).

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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

w

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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 559330 BCE Hellenistic 331 BCE250 Parthian 247 BCE224 Sasanian 224651 The advent of Islam 640829 Abbasid 750821 Samanid 819999 Ghaznavid 9771186 Seljukid 10401157 Mongol 12561394 Timurid 13871502 afavid 15021736 Zandieh 175079 Qajar 17941925 Pahlavi 192579 Islamic Republic 1979

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

xxxiii

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 oseyn 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 tarr (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.

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Transcriptions observe the following conventions: Sign Meaning

or 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

dorrb-i set-i, two grace notes played immediately before the main note

dorrb-i panjt-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)

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.)

: rst; 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 naqart, equivalent to Ta.

: Ba; two Alif, corresponding also to Tan. : Jim; three Alif, corresponding to Tanan. : dl; four Alif, corresponding to Tananan. : ha; five Alif, corresponding to Tanananan. : mm; 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 .


346

Ab-at: one of the major subdivisions of dastgh Shr; one of the five vz-ha of Iranian classical music; its primary scale is G A B C D E F G.

Abyt: the plural form of beyt (see beyt). Adwr: (pl. of dowr), cycles; system in ancient Arabic and Persian

music theory for representing both interval patterns (mode or scales) and rhythmic patterns.

Afl: trigram of F--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.

Afshri: one of the major subdivisions of dastgh Shr; one of the five vz-ha of Iranian classical music; its primary scale is F G A B C D( ) E F.

lp: structured improvisation on a chosen rg which is the first part of any dhrupad (ancient vocal form in Hindustani music).

Aghni: Ketb al-aghni; comprehensive book on music and musicians by Ab al-Faraj Isfahani (d. 988).

Arq: gsheh in dastgh Mhr (also be played in Bayt turk). Arkn: (pl. of rukn) feet; fundamentals. Arz: 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.

Asbb: (pl. of sabab), see sabab. shr: the tenth days of the holy month of Moharram, the first

month of the Islamic calendar, which marks the martyrdom of Imam oseyn, the grandson of Prophet Mohammad.

Al: 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.

stn Qds: the organisation of the holy shrine of Imam Reza in Mashhad, Iran.

Awt: (pl. of awt), voice; tune. Atnn: 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).

vz: literarily, song; subdivision of the dastgh in contemporary Iranian radif; free-metred section of a mode.

Avesta: the holy book of the Zoroastrians. Awtd: (pl. of vatad), see vatad. Azif: (pl. of zehf), see zef. Azerbaijani: a gsheh in dastgh Mhr. Bar: sea; name referring to all the standard metric patterns in

Persian and Arabic poetry. Bakhteyr: name of a region in central Iran; gsheh in dastgh

Homyn. bl dasteh: upper part of the neck of the tr and setr; low tetrachord

of every scale.

barbat: kind of lute. Baste-negr: gsheh which can be played in different dastgh-ha. Bayt Isfahn: one of the major subdivisions of dastgh Homyun;

one of the five vz-ha of Iranian classical music; its primary scale is C D E F G A B C.

Bayt kurd: one of the subdivisions of dastgh Shr. Bayt turk: one of the major subdivisions of dastgh Shr; one of the

five vz-ha of Iranian classical music.


348

Beyt: complete poetic line consisting of two equal hemistichs. Bdd: gsheh in dastgh Homyun. Bur: (pl. of bahr), see bahr. Bshehr: province in southern Iran by the Persian Gulf. Chahr preh: gsheh in Ab-at and Mhr. Chahr zarb: ancient rhythmic cycles consisting of twenty four

naqart in the form Tananan Tananan Tananan Tananan Tananan Tananan.

Chahrgh: one of seven dastgh-ha in contemporary Iranian music; its primary scale is C D E F G A B C.

Chahrmez rb: four strokes; an instrumental genre of compositions with fixed-metre.

Chakm (also in form of chakmak): love-lyric or romantic story in the Sasanian period (224-651).

Chang: harp. Dnish Nmeh Al: book by Ibn Sn (Avicenna 974-1037) in

Persian which contains one chapter in music.

Darmad: introduction; first gsheh in every dastgh or vz. Dastn: (pl. of dastn), see dastn. Dasht: one of the major subdivisions of dastgh Shr; one of the five

vz-ha of Iranian classical music; its primary scale is G A B C D( ) E F G.

Dast afshn: dancing; Sufi dance. Dastn: pattern of pitches; mode; frets on a fingerboard. Dastgh: modal system; a collection of melodic segments that share

a common basic scale with its variations (Miller 1999: 349).

Dawyer: (pl. of dyereh) circles. Dyereh: circle.


349

Deilamn: gsheh in dasht. Dhrupad: in Hindustani music, ancient vocal musical form in four

parts preceded by extensive introductory improvisation (lp) and expanded by rhythmic and melodic elaborations.

Dour Maatayn: ancient rhythmic cycle consisting of two-hundred naqart reported by Abd al-Qdir in Jme al-Aln.

Dour Shhi: ancient rhythmic cycle consisting of thirty or thirty-four naqart in the form Tananan Tanan Tan Tan Tanan Tananan Tananan Tan Tan Tanan Tanan Tan.

Faili: a gsheh in Bayt trk. Fkht: ancient rhythmic cycle consisting of four different versions:

Fkht aqar, which consists of five naqart (Tanan Tan); Fkht aqr, which is made up of ten naqart (Tan Tananan Tananan); Fkht mozaf, composed of twenty naqart (Tananan Tan Tananan Tananan Tan Tananan); and Fkht azf built upon forty naqart (by the double performance of the pattern of Fkht moz af).

Far: trivial. Farsakh: 120 miles. Farsi: Persian; the official language of Iran. Fseleh: duration in poetic metre equivalent of three voweled

consonants and a consonant, as in be+ra+va+m. Favsel: (pl. of fseleh) see Fseleh. Ford: descent; conclusion; return to the first modal degree. Ghadm: old; ancient. Ghameh-zan: a gsheh in dasht. Ghina: music in general (Arabic). Gsheh: a traditional repertory of melodies, melodic formula, tonal

progressions, ornamentations and rhythmic patterns that serve


350

as a model for improvisation; units which comprise each dastgh or vz.

Haft: seven. Hazaj: ancient rhythmic cycle consisting of two different versions:

Hazaj awwal, which consists of ten naqart (Tanan Tan Tanan Tan), and Hazaj thn, which consists of six naqart (Tananan Tan).

arakat: movement, vowel point. ijz: gsheh in Ab-at. Homyun: one of the seven dastgh-ha in contemporary Iranian

music; its primary scale is G A B C D E F G.

q: rhythm. Isfahn: large city in central Iran; one of the major subdivisions of

dastgh Humyn; one of the five vz-ha of Iranian classical music; its primary scale is C D E( ) F G A B C.

Ismliyeh: branch of Sufism. Jadd: new. Jhiliyah: pre-Islamic period in ijz (currently Saudi Arabia). Kamncheh: unfretted spike fiddle (bowed) with four strings which is

about the size of a viola. It is played resting upright on players lap.

Kanz al-Tuaf: book on music theory and musical instruments in Persian written between 1341 and 1364, author unknown.

Karbal: city in Iraq where the holy shrine of Imam oseyn is located.

Karbzan: stone beating; ceremony of mourning. Ketbkhneh: library.


351

khaff ramal: ancient rhythmic cycle consisting of ten naqart in the form Tan Tanan Tan Tanan.

Khorsn: large province in north-east Iran. Khosro and Shirin: a gsheh in Ab-at. Kitb al-adwr: book of cycles; substantial book on Arabo-Persian

music by af al-Dn Abd al-Mumin Urmaw (1216-94). Koron: ; flattened by a quarter tone. Mhr: one of the seven dastgh-ha in contemporary Iranian music;

its primary scale is similar to the major scale in Western music.

Majlis: gathering. Maqsid al-Alhn: old music theory in Persian language by Abd al-

Qdir Marqi (ca. 1367-1435). Marwis: (pl. of Murwas), see Murwas. Masnav: poetic form; gsheh in the poetic metre of Masnav played

in different dastgh-ha and vz-ha, particularly Afshr. Mezrb: plectrum on long-necked stringed instruments such as tr

and setr; hammers on the hammered dulcimer (santr). Misra: hemistich. Mokhammas: poetic form; ancient rhythmic cycle consisting of three

different versions: Mokhammas kabr (the grand), Mokhammas owsat (the medium) and Mokhammas aqr (the small).

Motoghayyer: changeable. Munfarid: simple. Murakkab: compound. Murwas: small double-headed cylinder drums. Msiq: music. Msiq-i al: indigenous or noble music. Msiq-i dastghi: dastghi music.


352

Msiq-i radfi: radfi music. Msiq-i sonnat: traditional music. Nagham: pitch; melody. Naghmeh-i avval: gsheh in dastgh Shr. Naqart: (pl. of naqareh), see naqareh. Naqareh: measurement of note values; smallest unit in a rhythmic cycle. Nairkhn: gsheh in Mhr. Nav: one of the seven dastgh-ha in contemporary Iranian music;

its primary scale is C D E F G A B C.

Ney: kind of vertical flute. Nim: new style of Persian poetry. Norz: Iranian New Year; series of three gsheh-ha in Rstpanjgh

and Humyn. Oj: ascendance; the climax of a dastgh or vz. Pn dasteh: high pitches. Pardeh: fret; mode. Pyeh: fundamental; tonic; referring motif in chahrmezrb. Pshdarmad: instrumental genre; rather long prelude in slow tempo

played by Iranian orchestra as the opening piece; apparently first introduced by Gholm Hoseyn Darvish, known as Darvishkhn (1872-1926).

Radf: entire collection of gsheh-ha in all the 12 modes (seven dastgh-ha and five vz-ha) as transmitted by an authorised master.

Rh-i Sam: tune of Sam (dervishes dancing); old rhythmic cycle from Khorsn

Rajaz: poetic metrical pattern; ancient rhythmic cycle (see table of Arz in chapter one).

Rk: gsheh in Mhr and Rstpanjgh


353

Ramal: poetic metrical pattern (see table of Arz in chapter one); ancient rhythmic cycle consisting of twelve naqart in two different versions. The first version equals Tan Tan Tan Tan Tananan and the second version equals Tan Tan Tananan Tananan.

Ramal thaql: ancient rhythmic cycle consisting of twenty-four naqart in the form Tananan Tananan Tan Tan Tan Tan Tan Tan Tananan.

Rst-panjgh: one of the seven dastgh-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.

Risleh Msq: music treatise in Persian written by Abd al Ramn Jm in 1489.

Sabab: duration in poetic metre equivalent of one voweled consonant and one additional consonant, as in de+l.

Sang-zan: stone beating; ceremony of mourning. Sasanian: ancient Iranian dynasty between 224651 evolved by

Ardashir I in years of conquest, AD 208-224, and destroyed by the Arabs during the years 637-51.

awt: sound; tune. Sayakh: gsheh in Ab-at Segh: one of the seven dastgh-ha in contemporary Iranian music;

its primary scale is A B C D E F G A .

Sepd: new style of Persian poetry. Setr: long-necked, four-stringed lute with pear-shaped wooden

body; fretted like the tr but played with the nail of the index finger.

Shahbi: a gsheh in Bayt trk.


354

Shhid: 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.

Shahnz: a gsheh in Shr. Shar-i Adwr: clarifications of the cycles; old music treatise on

cycles of modes and rhythm in Persian by Abd al-Qdir Marqi (ca. 1367-1435) based on af al-Dns Kitb al-Adwr.

Sharveh: vocal form song in different regions of Iran, particularly the south.

Shir: poem. Shekasteh: a gsheh in Mhr and Bayt trk. Shiit: the second largest branch of Islam. Shr: largest dastgh in the set of the seven dastgh-ha in

contemporary Iranian music; its primary scale is G A B C D E F G

sneh-zan: breast beating; ceremony of mourning. Sz-o-godz: a gsheh in dasht. Tabriz: large city in north-west Iran. Tarr: falsetto break; cracking of the voice. In vocal music tarr

takes the form of melisma and is characteristic of musical performance from Tibet to West Asia.

Taqsm: 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 taqsm often forms the first movement of a suite (nawbah), a popular form in Arabic music.

Tr: long-necked lute with double belly, covered with sheepskin membrane. It has six strings, tuned in pairs, and twenty-six movable gut frets.


355

arab-angz: a gsheh in dastgh Mhr. Tanf: most popular vocal form in Iranian classical music with a

fixed-metre rhythm.

Ts: 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 notesometimes more than one step higher, as governed by special rules of interpretation.

Thaql awwal: ancient rhythmic cycle consisting of sixteen naqart in the form Tanan Tanan Tananan Tan Tananan.

Thaql thn: ancient rhythmic cycle consisting of sixteen naqart in the form Tanan Tanan Tan Tanan Tanan Tan.

Ts: gsheh in Mhr. 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. Zbol: gsheh in Segh and Chahrgh. Zang-i Shotor: gsheh in Segh and Homyun. Zanjr-zan: chain beating; ceremony of mourning. Zarb fat: ancient rhythmic cycle consisting of fifty naqart in the

form Tanan Tanan Tananan Tananan Tanan Tanan Tananan Tanan Tanan Tananan Tananan Tananan Tananan Tananan.

Zarb Jadd: an ancient rhythmic cycle consisting of fourteen naqart in the form Tananan Tananan Tanan Tanan.

Zef: name referring to each of the varied forms of bohr in Persian and Arabic poetry.

People Index Alizdeh, oseyn 86 Aristotle, 49 Arom, Simha 52 Brbad, 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, oseyn 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, Farhd xx, 35, 123,

188, 282, 341, 342 Fakhr, 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 Khleqi, Ruh-Allah xvii, 240,

241, 256, 260, 282 Kolinski, Mieczyslaw 54 Komar, Arthur J. 56 Kouhestni, 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

People Index

380

London, Justin ii, x, 51, 52, 53, 54, 55, 65, 66, 67

Lussy, 51 Mallh, Hoseyn Ali 35, 77, 117,

255 Malm, William P. 144 Mansuri, Parviz 211 Massoudieh, Mohammad Taghi

x, xiii, xiv, xv, xvi, xvii, xxx, xxxiv, 64, 160, 161, 167, 169, 174, 183, 184, 185, 189, 190, 204, 207, 214, 215, 220, 230, 232, 270, 271

Meshktian, Parviz 270, 271 Meyer, Leonard B. 55, 58, 66,

67, 68 Miller, Lloyd 35, 77, 348 Minuvi, 108 Molavi, 70 Najib-ullah, 79 Nettl, Bruno 35, 77, 144, 146,

147, 152, 157, 158 Neumann, F. 54 Nicholson, Reynold A. 79 Nim Youshij, 85, 87 Nooshin, Laudan 144, 148, 152,

158 Pacholczyk, Jzef 265 Pyvar, Farmarz xiv, xvii, xxi,

xxii, xxv, 44, 177, 178, 191, 202, 226, 242, 248, 251, 252, 261

Plato, 49, 77 Pressing, Jeff xi, 96, 103, 104,

146 Prophet Mohammed, 63 Racy, Ali Jihad 145, 146, 147,

240 Repp, B. 66

Roederer, Juan G. 66 Rouanet, Jules 78 Rycroft, David 144 Sachs, Curt 48, 49, 50, 67, 77 Sanyal, Ritwik 71, 72, 74 Schachter, Carl 52, 211, 218 Schoenberg, Arnold 145 Sepant, Ssn 268 Sepehri, Sohrab 87 Shajarian, Mohammad Reza xvi,

xvii, xxiv, xxv, 86, 207, 208, 209, 227, 234, 257, 261, 262

Shamissa, Cyrus 79, 88 Sheyd, xvii, 254, 255, 259, 260,

262, 263, 324 Slobin, Mark 258 Sloboda, John. A. 72 Stock, Jonathan. ii, x, 71 Tagore, 72 Tehrani, oseyn xviii, 282, 283,

285 Touma, asan Habib 61, 79 Tsuge, Genichi 35, 36, 37, 38,

39, 40, 77, 187, 188, 191, 209, 211, 213, 226, 237, 259, 266, 325

Van Noorden, 66 Wallaschek, R. 67 Westergaard, 66 Whinfield, Peter 69, 70 Widdess, D. Richard. 71, 72, 73 Wright, Owen 36, 79, 105, 106,

107, 108, 340 Zaryb, 78 Zonis, Ella 35, 79, 99, 148, 150,

153, 211, 246, 256, 335 Zuckerkandl, Victor , 56, 86,

138, 139.

Documents

Rhythmic Structure in Iranian Music