Yahoo Tuning Groups Ultimate Backup tuning for dear ozan and others , about persian music

Dear my brother , ozan

please send me the english version of the essay.

U can read this and the book which is written by dr.hormoz farhat , in iranian composer & musician

thanks

This page is the index to my hyper-media report on the traditional classical music of Persia (Iran). Of the many ancient societies that have shaped the history of human civilization, Persia has been one of the few which has persistently maintained its identity, and individuality through the ages; this is reflected in its classical music. The purpose of this site is to allow the casual observer an opportunity to explore the musical tradition of this ancient civilization.

You will need a WAV player to hear the sound clips in this report. Click here <http://www.recall.com/zahara/soundfaqs.html> if you need to download a player.

Below is an outline of the ideas presented in this report. To view any topic in greater detail, simply click on it.

Characteristics:

The following characteristics are shared between Iranian and other Central Asian music:

* The music is mainly monophonic, with each instrument in an ensemble following one melodic scheme.
* The music is based upon a modal system; with each mode engenderring different melodic types, called gushehs in Farsi. The execution of the melodic types are left up to the musician.
* The use of microtones divides the scales into more than twelve semi-tones.
* A priority is given to ornamentation.
* There are a number of substantial pauses in each piece.

The following are characteristics which distinguish Persian music from other Central Asian music:

* Melodies are concentrated on a relatively narrow register.
* Melodic movement occurs by conjunct steps.
* Emphasis is on cadence, symmetry, and motivic repetition at different pitches.
* Rhythmic patterns are kept simple.
* The tempo is often rapid, and the ornamentation is dense.
* Vocal parts are often decorated with Tahrir, a vocal ornamentation similar to yodeling. Click here <http://www.duke.edu/~azomorod/tahrir.wav> to hear an example of tahrir. (This is a 229K WAV file. )
* Also, Iranian music is unique in the Middle Eastern tradition in that the different melodic phrases, or gushes are supposed to model the rhythmic stamp and melodic pattern of poetry.

Return to index <http://www.duke.edu/~azomorod/persian2.html#A#A>

Compositional Structure

There are three instrumental forms and one vocal form in Persian music. The instrumental forms are pishdaramad, cheharmezrab, and reng. Pishdaramad was invented by a great master of the tar, Darvish Khan, and was inteded as a prelude to the daramad of a dastgah. It may be in duple, triple, or quadruple time, and it draws its melody from some of the important gushehs of the piece. Cheharmezrab is a solo piece, mostly with a fast tempo, and is usually based on the melody immediately preceding it. The third instrumental form is the reng, which is a simple dance piece that is usually played at the conclusion of the dastgah.

The vocal form is called tasnif. It has a design similar to the pishdaramad, and is usually placed immediately before the reng.

Return to index <http://www.duke.edu/~azomorod/persian2.html#A#A>

Instruments

Iranian classical music is usually performed by small ensembles of variable size. These groups typically consist of the singer, one or two accompanying melodic instruments (either of kamanche, tar, santur, setar, or nay) and perhaps a rhythmic instrument, such as the dombak, or the now rarer daf. The most important instruments are listed below. Click on the names or pictures to read a description and to hear a sound sample.

<http://www.duke.edu/~azomorod/setar.html>

setar <http://www.duke.edu/~azomorod/setar.html>

<http://www.duke.edu/~azomorod/santur.html>

santur <http://www.duke.edu/~azomorod/santur.html>

<http://www.duke.edu/~azomorod/tar.html>

tar <http://www.duke.edu/~azomorod/tar.html>

<http://www.duke.edu/~azomorod/kamanche.html>

kamanche <http://www.duke.edu/~azomorod/kamanche.html>

<http://www.duke.edu/~azomorod/nay.html>

nay <http://www.duke.edu/~azomorod/nay.html>

<http://www.duke.edu/~azomorod/tombak.html>

tombak <http://www.duke.edu/~azomorod/tombak.html>

Even though they have unique voicings, these instruments are intertwined in the ensemble to maintain a monophonic texture. The following example, in which all of the instruments play the same melodic line is typical of Persian music. To hear what an ensemble sounds like, click the speaker below:

<http://www.duke.edu/~azomorod/monoph~1.wav> The nay, tar, santur, and setar playing as an ensemble(133K WAV file).

Return to the index <http://www.duke.edu/~azomorod/persian2.html#A#A>

Related Sites

Bellow is a list of other sites having to do with Iran or Persian Music.

* The Iran pages at Stanford <http://tehran.stanford.edu/audio.html>
This site contains many more sound clips, and information about other aspects of Persian culture.
* On Iranian Classical Music <http://www.best.com/~mccomb/music/world/iran.html>
This site contains a very extensive Iranian classical music discography, including information about some of the most famous composers and musicians of Iran.
* Persia Home Page <http://www.ed.ac.uk/~bhm/art.html>
A great site containing links to sites which cover every aspect of Persian art and culture.
* Rootsworld <http://www.rootsworld.com>
This on-line journal is devoted to the music of the world. Occasionally, it will contain some information about Persian music or musicians.
* Kereshmeh Records <http://www.kereshmeh.com>
This record company deals exclusively in Iranian music. Their site is a good place to start looking if you want to start listening to Persian Music. They have a number of sound clips from one of the most respected vocalists of the classical style, Mohammad Reza Shajarian.

Return to index <http://www.duke.edu/~azomorod/persian2.html#A#A>

Bibliography

* During, Jean. The Art of Persian Music. Washington D. C.: Mage Publishers, 1991.
* Farhat, Hormoz, The dastgah Concept in Persian Music. Cambridge: Cambridge University Press. 1990
* Safvate, Dariouche. Nelly Caron. Iran, Les Traditions Musicales. Corra: Buchet/Chastle. 1966

Created 4/22/96 By Ali Zomorodi

Book Title:

DASTGAH CONCEPT IN PERSIAN MUSIC

Author:

FARHAT, HORMOZ <http://www.pickabook.co.uk/cgi/search.php?type=author&query=FARHAT%2C+HORMOZ>

Publisher:

CAMBRIDGE UNIVERSITY PRESS <http://www.pickabook.co.uk/cgi/search.php?type=publisher&query=CAMBRIDGE+UNIVERSITY+PRESS>

Edition:

NEW ED

ISBN:

0521542065

Binding:

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Pub. date:

8th July 2004

Pages:

213

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________________________________

From: Ozan Yarman [mailto:ozanyarman@superonline.com]
Sent: Thursday, January 06, 2005 11:37 AM
To: tuning@yahoogroups.com
Subject: Re: [tuning] modulation in persian music

Dear brother Mohajeri,

Our musical heritage links us to the same past. But tell me please about the destgah system and its difference from the maqam system. What are the fundamental differences after the Persian reform in music? And when did this conversion take place?

Peace,

Ozan

----- Original Message -----

From: Mohajeri Shahin <mailto:shahinm@kayson-ir.com>

To: tuning@yahoogroups.com

Sent: 06 Ocak 2005 Perşembe 6:02

Subject: RE: [tuning] modulation in persian music

The theoric basis of persian music was affeted by theories of pythagorean school in the era of al-farabi and avicena.but at the past and before construction of dastgah system , our music had maqams like turkish and arabic.

shaahin

________________________________

From: Lorenzo Frizzera [mailto:lorenzo.frizzera@cdmrovereto.it]
Sent: Wednesday, January 05, 2005 5:11 PM
To: tuning@yahoogroups.com
Subject: Re: [tuning] modulation in persian music

Hi.

I did'nt know nothing about persian music.

After I've read this http://www.duke.edu/~azomorod/dastgah.html I've better understood what you mean.

I think that this system is very similar to ancient greek music. Am I wrong?

Lorenzo

----- Original Message -----

From: Mohajeri Shahin <mailto:shahinm@kayson-ir.com>

To: tuning@yahoogroups.com

Sent: Wednesday, January 05, 2005 5:25 AM

Subject: [tuning] modulation in persian music

Hi dears

Radif of persian music is systemt of dastgahs.each dastgah as subsets of radif has a few goosheh .

The structure of goosheh is based on different formulas which is charactristic for each.

the strucrture of each dastgah is based on tetrachordal-structure of intervals :

1- the tetrachordal structure A+B modulates to one perfect fifth up the tonic of scale.

For example starting with SHUR C and going to SHUR G.

2-Interesting that the sequence of tetrachords in the structure of dastgah is like A+B+C+.......instead of A+B+A+B.(C BECAUSE OF EFFECT OF SHIFTING OF FIFTH)

So u see that some goosheh in a dastgah can represent new tetrachordal-structure and ways to modulation to another dastgahs.

For example in segah dastgah you can go to homayoon or isfahan as modulation . but the modulation occur after palying gooshehs in a sequence . u can not start the dar-a-mad (starting goosheh of a dastgah) and modulate befor ending .

3-U can also change your modal expression in a gooshe structure by changing function of structral intervals in it. It makes another formula for new goosheh or goosheh of yours not included in radif and new to every body(new modal expression)

But as radif is playing for almost 1 century , the new musician think it as only a way of improvising ..... and looking for new ways of modulation to dastgahs which there is no modal way for them.

________________________________

From: Kraig Grady [mailto:kraiggrady@anaphoria.com]
Sent: Tuesday, January 04, 2005 7:11 PM
To: tuning@yahoogroups.com
Subject: [tuning] ragas, maqams, (Bach . . )

13th Century Persian music theory is the source of north Indian tuning.
not Sure about the Maqams , but i read recently that the Radif has
prearranged formulas for modulation
with the improvisations being before and after.
Structurally and compositionally i find this idea quite appealing

>
>Message: 9
> Date: Tue, 4 Jan 2005 00:05:25 -0500 (EST)
> From: Christopher Bailey <chris@music.columbia.edu>
>Subject: ragas, maqams, (Bach . . )
>
>
>What you have described "smells" very much like the 'maqam'
>concept/structure in maqam music.
>
>Not all maqams modulate as far as I know.
>
>
>
>
>
>

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

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Thank you my brother, I will examine it straight away.

Peace,
Ozan
----- Original Message -----
From: Mohajeri Shahin
To: tuning@yahoogroups.com
Sent: 09 Ocak 2005 Pazar 6:34
Subject: [tuning] for dear ozan and others , about persian music

Dear my brother , ozan

please send me the english version of the essay.

U can read this and the book which is written by dr.hormoz farhat , in iranian composer & musician

thanks

You will need a WAV player to hear the sound clips in this report. Click here if you need to download a player.

Below is an outline of the ideas presented in this report. To view any topic in greater detail, simply click on it.

a.. A brief history of musical development in Iran
b.. Characteristics of the music
c.. The dastgah system
d.. Compositional structure
e.. Instruments
f.. The relationship between music, Sufi poetry, and the associated art of calligraphy
g.. Elsewhere on the web
h.. Bibliography

Characteristics:

The following characteristics are shared between Iranian and other Central Asian music:

a.. The music is mainly monophonic, with each instrument in an ensemble following one melodic scheme.
b.. The music is based upon a modal system; with each mode engenderring different melodic types, called gushehs in Farsi. The execution of the melodic types are left up to the musician.
c.. The use of microtones divides the scales into more than twelve semi-tones.
d.. A priority is given to ornamentation.
e.. There are a number of substantial pauses in each piece.
The following are characteristics which distinguish Persian music from other Central Asian music:

a.. Melodies are concentrated on a relatively narrow register.
b.. Melodic movement occurs by conjunct steps.
c.. Emphasis is on cadence, symmetry, and motivic repetition at different pitches.
d.. Rhythmic patterns are kept simple.
e.. The tempo is often rapid, and the ornamentation is dense.
f.. Vocal parts are often decorated with Tahrir, a vocal ornamentation similar to yodeling. Click here to hear an example of tahrir. (This is a 229K WAV file. )
g.. Also, Iranian music is unique in the Middle Eastern tradition in that the different melodic phrases, or gushes are supposed to model the rhythmic stamp and melodic pattern of poetry.
Return to index

Compositional Structure

The vocal form is called tasnif. It has a design similar to the pishdaramad, and is usually placed immediately before the reng.

Return to index

Instruments

setar

santur

tar

kamanche

nay

tombak

The nay, tar, santur, and setar playing as an ensemble(133K WAV file).

Return to the index

Related Sites

Bellow is a list of other sites having to do with Iran or Persian Music.

a.. The Iran pages at Stanford
This site contains many more sound clips, and information about other aspects of Persian culture.
b.. On Iranian Classical Music
This site contains a very extensive Iranian classical music discography, including information about some of the most famous composers and musicians of Iran.
c.. Persia Home Page
A great site containing links to sites which cover every aspect of Persian art and culture.
d.. Rootsworld
This on-line journal is devoted to the music of the world. Occasionally, it will contain some information about Persian music or musicians.
e.. Kereshmeh Records
This record company deals exclusively in Iranian music. Their site is a good place to start looking if you want to start listening to Persian Music. They have a number of sound clips from one of the most respected vocalists of the classical style, Mohammad Reza Shajarian.
Return to index

Bibliography

a.. During, Jean. The Art of Persian Music. Washington D. C.: Mage Publishers, 1991.
b.. Farhat, Hormoz, The dastgah Concept in Persian Music. Cambridge: Cambridge University Press. 1990
c.. Safvate, Dariouche. Nelly Caron. Iran, Les Traditions Musicales. Corra: Buchet/Chastle. 1966
Created 4/22/96 By Ali Zomorodi

Book Title:
DASTGAH CONCEPT IN PERSIAN MUSIC

Author:
FARHAT, HORMOZ

Publisher:
CAMBRIDGE UNIVERSITY PRESS

Edition:
NEW ED

ISBN:
0521542065

Binding:
PAPERBACK

Pub. date:
8th July 2004

Pages:
213

Despatch:
Not In Stock (You can still order this item and we will despatch your order as soon as it is available)
Delivery Information
This book is out of print but can be specially printed and shipped in a couple of days

Price (rrp):
£17.99

Discount:
none currently

Price:
£17.99

You save :
£0.00

Series:
CAMBRIDGE STUDIES IN ETHNOMUSICOLOGY

Classification:
THE ARTS
> MUSIC
> FOLK MUSIC

Description:

Stock:
currently no items in stock

Returns:
Non-returnable

Information provided by www.pickabook.co.uk

view basket

------------------------------------------------------------------------------

From: Ozan Yarman [mailto:ozanyarman@superonline.com]
Sent: Thursday, January 06, 2005 11:37 AM
To: tuning@yahoogroups.com
Subject: Re: [tuning] modulation in persian music

Dear brother Mohajeri,

Peace,

Ozan

----- Original Message -----

From: Mohajeri Shahin

To: tuning@yahoogroups.com

Sent: 06 Ocak 2005 Perşembe 6:02

Subject: RE: [tuning] modulation in persian music

shaahin

----------------------------------------------------------------------------

From: Lorenzo Frizzera [mailto:lorenzo.frizzera@cdmrovereto.it]
Sent: Wednesday, January 05, 2005 5:11 PM
To: tuning@yahoogroups.com
Subject: Re: [tuning] modulation in persian music

Hi.

I did'nt know nothing about persian music.

After I've read this http://www.duke.edu/~azomorod/dastgah.html I've better understood what you mean.

I think that this system is very similar to ancient greek music. Am I wrong?

Lorenzo

----- Original Message -----

From: Mohajeri Shahin

To: tuning@yahoogroups.com

Sent: Wednesday, January 05, 2005 5:25 AM

Subject: [tuning] modulation in persian music

Hi dears

Radif of persian music is systemt of dastgahs.each dastgah as subsets of radif has a few goosheh .

The structure of goosheh is based on different formulas which is charactristic for each.

the strucrture of each dastgah is based on tetrachordal-structure of intervals :

1- the tetrachordal structure A+B modulates to one perfect fifth up the tonic of scale.

For example starting with SHUR C and going to SHUR G.

2-Interesting that the sequence of tetrachords in the structure of dastgah is like A+B+C+…….instead of A+B+A+B.(C BECAUSE OF EFFECT OF SHIFTING OF FIFTH)

So u see that some goosheh in a dastgah can represent new tetrachordal-structure and ways to modulation to another dastgahs.

But as radif is playing for almost 1 century , the new musician think it as only a way of improvising ….. and looking for new ways of modulation to dastgahs which there is no modal way for them.

--------------------------------------------------------------------------

From: Kraig Grady [mailto:kraiggrady@anaphoria.com]
Sent: Tuesday, January 04, 2005 7:11 PM
To: tuning@yahoogroups.com
Subject: [tuning] ragas, maqams, (Bach . . )

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

------------------------------------------------------------------------------

Yahoo! Groups Links

a.. To visit your group on the web, go to:
/tuning/

b.. To unsubscribe from this group, send an email to:
tuning-unsubscribe@yahoogroups.com

c.. Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service.

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for dear ozan and others , about persian music

🔗Mohajeri Shahin <shahinm@kayson-ir.com>

🔗Ozan Yarman <ozanyarman@superonline.com>