جستجوی مقالات مرتبط با کلیدواژه « آواز ایرانی » در نشریات گروه « هنر و معماری »

This Article is a study of the musical tools of Ta’ziyeh and how it employs the Dastgāh and Āvāz of the Iranian traditional music, which is considered an Iranian- Shi’ite artform. What opens Ta’ziyeh for more examination today in Iran and even worldwide is its intrinsic dependence to musical elements as well as utilization of the two entangled components of poetry and drama. Moreover, Ta’ziyeh’s involvement with mythology and with matters of faith has turned it into an interdisciplinary artform and a drama with a musical-ceremonial theme. The different analyses done in this article show that this musical phenomenon is a structuralist formation where the choice of Dastgāhs, Āvāzs, and melodic circles, and in all sections i.e., Pishkhāni (overture), Noheh (elegy), monologues, dialogues, and instrumental sections, is contingent upon the specific contents and needs of each Ta’ziyeh. For this reason, to better understand how Ta’ziyeh works and how the musical elements of Ta’ziyeh are picked it is necessary to study Ta’ziyeh from a musical point of view. Therefore, the current study uses the existing Ta’ziyeh texts and performances to take an analytical and interpretational approach to understanding the ways the choice of music and the contents of the drama are connected, and meanwhile introduces the properties and the variables of Ta’ziyeh. The results of this study include important points, such as: Choosing a main Dastgāh or Āvāz as the performer of the musical atmosphere, specific to each Ta’ziyeh; Commencement and conclusion of the Ta’ziyeh is presented in a specific Dastgāh or Āvāz, suitable to each Ta’ziyeh and the landscape of its story; The melodic design, choice of Dastgāh, Āvāz, and Goosheh (piece of Radif), in different kinds of Ta’ziyeh’s monologues such as Monājāt (fervent prayer, often chanted), Khatāb and Farmān (addressing and commanding), speaking to self (Monologue), Rajaz-Khāni (recital of epic verses in defiance of enemy), and characters’ speech, are all done according to the capacities of each part, dramatic events, and contents of the drama; The casual use of excess syllables, like the extended, redundant “O” vowels, extra “keh”s (meaning which, or that), etc in order to achieve harmony between the melody and the poems; all of the above are counted towards the results of this study.

Tahrir is an important aspect of Avaaz, in the Iranian, Arabic, and Turkish music area. Mohammad Reza Shajarian is a famous Iranian Avaaz singer. In recent years Mohammad Reza Shajarian in addition to teaching many students directly at his master classes has some strong indirect impact on many other Avaaz learners who are at their beginning or even middle pass of becoming a skillful Avaaz performer. His spectacular and famous style of performing Avaaz has inspired many students who try to imitate his style by listening to his recorded and published tracks. Subject to the great influences of Mohammad Reza Shajarian on Iranian contemporary performance of Avaaz, investigating both qualitatively and quantitatively his style could help us better understand and analyze of Radif and provide a basis for performing Avaaz. According to a lack of written and published references in the Middle East musical archives, the author at the first step, selects some of the sections based on his vocal analysis of them. In the second step, providing documents based on selected sections and by using statistical methods, research for testing the claimed hypothesis is conducted. In this article based on provided transliteration samples, a correct classification of different categories of Tahrir’s and their patterns is presented. The most important parameter for this classification is melodic shapes in Iranian Tahrir. Moreover, techniques for Tahir also influenced the classifying process. Indeed different genres of Tahir results in different classes. Tahrir’s are classified in 7 different types: 1- dual combination 2- emphasize – slow down 3-Quadro Tahrir's 4- of five Tahrir's 5-triplet Tahrir's 6- dual with pedal 7- melismatic strong emphasis. Then the hypothesis of “The less the types of Tahrir, the high the patterns” is evaluated and confirmed. Based on the mentioned classification, quantitative research is conducted through which, and by using descriptive statistics, different types of Avaaz are analyzed. This hypothesis could be considered as one of the main basis for distinguishing different styles of performing Avaaz. According to the author’s analysis, usually, there are not many different techniques in performing Avaaz, and most of the time they have the same types but using different above-mentioned categories, different figures are provided. Providing the mentioned categories, quantitative research is conducted. At first different parameters are defined by the author and then these parameters are quantified separately according to the final statistical population. After gathering data based on the described method, they are analyzed by using descriptive statistics, and then analytical results are provided.  Although the poem is the structure of an Avaaz and Tahir is a complementary layer, in this research the authors only focused on Tahrir’s and poem, style of performing a poem and its influence on the process of shaping Tahir is excluded in this paper and could be investigated in further researches. At last, according to the amount of melismatic or Tahrir’s, structured or unstructured, numbers of different used Tahrir’s and result of using Tahrir based melodies specifically for some Gooshe’s, the general architecture of Tahrir’s is investigated.

In this article، according to the 5 transcriptions of Iranian vocal masters، we try to observe some of various functions of tahrir in Iranian classical music with comparative - analytic method and Schenkerian analysis. The goal of usage Schenkerian analysis is to interpret the underlying structure of tahrirs by showing hierarchical relationships among tones، and also drawing the graphs of reduce analysis as the fundamental lines of tahrirs. Tahrir is the main ornament in Persian singing and instrumental music. In summary، tahrir is a falsetto break or cracking of the voice in the form of the grace note above، and between the notes of، the melody line. According to the research، the tahrir is not only an ordinary ornament، but rather it must be known as a Structural function in Iranian classical music. These transcriptions are selected from the early segment of dastgâh-e châhârgâh. Generally، dastgâh is one of the twelve multi-modal cycles in Iranian classical music، and also early segment of each dastgâh classically named darâmad. These transcriptions are from the records of Seyyed Ahmad khân، Soleimân Amirqâsemi، Abolhasan Eqbâl Âzar، Rezâqoli Mirzâ Zelli and Abdollâh Davâmi. In this study we will explain the mechanism of tahrir based on melodic progression (seyr). The melodic progression is one of the complicated characteristics of eastern mode that refers to the how the combination of the tones and progression the melody. Indeed، the how motion of tones in tahrir-s is dependent of the seyr. In this article we will use 3 terms for explained the mechanism of tahrir-s into the texture of gushe-s (The dastgâh is composed of many melodic segments with various lengths which are called gushe): tahrir-sentence، tahrir-phrase and tahrir-motive. The tahrir-sentence is a musical sentence that is only based on tahrir. The tahrir-phrase is intermediate concept that is between the tahrir-sentence and tahrir-motive. The tahrir-motive is fundamental component of a tahrir-sentence; in other words، the tahrir-motives articulate and fractionate a tahrir-sentence. Virtually، each tahrir-sentence is composed of a number of tahrir-phrase and tahrir-phrase is composed of a number of tahrir-motive. Apart from following the logic of movement and stillness، the method of separation the tahrir-motives، sometimes follow the rising and falling melody and sometimes follow the pause on the important tones of the mode (such as the shâhed note that is the center around which the melody evolves and rest note on which the melodic segments comes to rest) and sometimes follow the pause similar to staccato. Based on study of transcriptions and analysis charts، we will try to indicate that the gushe-s how to get in shape by the tahrir-s. Hereupon، this investigation can be helped us to perceive the mechanism of gushe-s. Some functions of tahrir that can be enumerated are: development and expansion of a tone or a specific modal cell; help to move from one tone to the other tone; help to modulation and also help to return to the primary mode and concluding the sentence، phrase or gushe which is called forud in dastgâhi music.

In Iranian vocal music, singers do not just use poems and words for the creation of music. In this music, in the course of performing the Tahrirs (Melismas) they use additional words that poetry. Melisma covers more than half of the duration of music; therefore Tahrir (Melismas) is the most important embellished element in this music. To perform melisma, singers have to use supplementary words which are called Tarannom. Tarannoms are divided into two groups: meaningful words (Loghavi) and meaningless syllables (Âvâei). The First group includes words which have a clear meaning, for example Jânam, Habib, Aziz and Amân. The Second group apply syllables which do not have any meaning, for instance Hâ Hâ, He He, Hi Hi, He Hâ, Hâ he etc. Meaningless Tarannoms, which this research is discussing about, is the most important implement of performing Melismas. It should be noticed that performing melisma is impossible without nonsense syllables. The purpose of this article is to find out some rules in nonsense syllables (Tarannomhâye Âvâei). In fact, the assumption of this article is that when singers use nonsense syllables, they follow some rules which come from the unconscious. This research will be conducted on 12 transcriptions from the records of Iranian vocal masters, such as Seyyed Ahmad Xân, Soleimân Amirqâsemi, Abolhasan Eqbâl Âzar, Rezâ qoli Mirzâ Zelli, Mohammad Rezâ Shajariân, Razavi Sarvestâni, Râmbod Sodeif, Abdollâh Davâmi, Adib Xânsâri, Ruhangiz, Mahmoud Karimi and Gholâmhosein Banân. All of the notations are in Dastgah-e Châhârgâh (one of the twelve multi-modal cycles in Iranian traditional music). First, we separate the typology of Melismas from notations, and then we will study them. This study applies with a comparative - analytic method. Results of this research, in practice, can have educational application for singers and can lead them to know about the usage of Tarannoms. Moreover, in theoretical part, finding these rules helps us to know how to use these nonsense syllables. We can also study interdependency between Dastgahi music and Persian language. Undoubtedly, the most important concept that can be received of this article is the special role of "â" sound in order to organize nonsense syllables (Tarannomhâye Âvâei). Also, one of the fundamental issues in the use of vowel by Iranian classical singers, is the interaction between "â" and "e" in organizing independent Tahrirs out of poetry. In other words, these two vowel sounds and their various compounds are the main tool of use of vowel in independent Tahrirs such as use of plectrum in instrumental music. It seems that the choice of these two vowel sounds for Tahrirs performance is rooted in phonology issues. As result, the study and analysis of various Melismas in this article indicate, contrary to the general belief that these Tarannoms do not have any rules, that they have multiple rules emanated from melodic texture, emotional content of Melismas, modal traits, articulation, aesthetic correspondence of musical phrases, and in the end, the accent of Persian language.