Rhythm in Persian music: Difference between revisions
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[[Image:Sassanid Music Plate 7thcentury.jpg|thumb|240px|''A 7CCE plate showing a female percussionist'']] |
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{{Advert|date=December 2007}} |
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| ⚫ | Understanding the rhythmic aspect of Iranian music is aided by understanding the rhythmic structure of [[Persian poetry]], the old Persian rhythmic cycles and the rhythmic characteristics of improvised and composed music. Analysis of more than fifty [[Musical improvisation|improvisations]] and [[Musical composition|pieces]] of composed music shows that the rhythmic organisation of ''gūsheh-ha'' and of musical genres in free metre, stretchable metre or fixed metre may be influenced by Persian poetic metres.<ref> [[Mohammad Reza Azadehfar]], ''Rhythmic Structure in Iranian Music''. A demonstration of most pieces examined on two audio CDs is included.</ref> |
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'''''Rhythmic Structure in Iranian Music''''' is a book by Dr Mohammad Reza Azadehfar. |
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Music-related manuscripts from the twelfth to fifteenth centuries CE provide an opportunity to compare more than thirty different rhythmic cycles. The system of rhythmic cycles is no longer explicitly used in Iranian music but contemporary improvisation and composition reveals that their influence is still felt, as in current techniques of [[tombak]] performance.<ref> [[Mohammad Reza Azadehfar]], ''Rhythmic Structure in Iranian Music''.</ref> |
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==Abstract== |
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This book looks at Iranian Music through rhythm. Most previous studies of [[Iranian music]] focus on [[melody|melodic]] systems (Farhat, Zonis, etc.) or on instrumentation and the transcription of folk songs (Massoudieh, Darvishi, etc.). This book examines the so-far neglected rhythmic structure of Iranian classical music. Nonetheless, this book is not simply a rhythm book. This research has adopted a multidisciplinary perspective, employing approaches from the psychology of music, Western and Iranian music theory, historical [[musicology]] and the ethno-musicological approach of participant-observation to view the issue of Iranian classical music including improvisation from the perspective of the rhythm. |
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This rich rhythmic vocabulary may bear ancestral relationship to the complex [[Tala (music)|rhythms of India]] and certainly is related to traditional rhythms of North Africa and [[Ottoman military band|Ottoman Janissary]] and [[Turkish classical music|Turkish]] drumming. |
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The most common [[Meter (music)|time signature]]s associated with the tombak are 6/8, 2/4, 4/4, 5/8, 7/8, and 16/8 times. Today the rhythmic ictus (beat or pulse) of the drum does not merely work as a [[metronome]] but is usually woven into the main fabric of the music as if it were any other (melodic) instrument.<ref>CD by Mohammad Esmaili: ''Tombak Course'' [http://www.mahoor.ir/product_detail.asp?Pic_id=55 Mahoor Inst.] {{webarchive|url=https://web.archive.org/web/20070927221802/http://www.mahoor.ir/product_detail.asp?Pic_id=55 |date=2007-09-27 }}, {{cite web |url=http://www.madjidkhaladj.net/madjidkhaladj/madjidkhaladj/MadjidKhaladj.html |title=MadjidKhaladj |accessdate=2009-04-21 |url-status=dead |archiveurl=https://web.archive.org/web/20090106033404/http://www.madjidkhaladj.net/madjidkhaladj/madjidkhaladj/MadjidKhaladj.html |archivedate=2009-01-06 }}</ref> |
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A wide exploration of music-related manuscripts from the twelfth to fifteenth centuries provides an opportunity to compare more than thirty different rhythmic cycles recorded there. Although this system of rhythmic cycles is no longer explicitly used in Iranian music, examining several examples of contemporaneous improvisation and composed music reveals that a taste of the old rhythmic cycles is still felt in this music. An adaptation of the old rhythmic cycles examined in this book to current techniques of tombak performance is another outcome of this book. Moreover, presenting a case study of contemporary performance of Iranian classical music at the end of this book provides an opportunity to exhibit the role in a real performance of most of the theories raised in this book. On the top of all, the reader can enjoy a demonstration of nearly all pieces examined throughout the book on two audio CDs consisting of 101 tracks. |
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==See also== |
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[[ |
*[[Persian traditional music]] |
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==Sources== |
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{{reflist}} |
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[[Category:Persian music]] |
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[[Category:Asian rhythm]] |
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Latest revision as of 04:46, 22 April 2024
Understanding the rhythmic aspect of Iranian music is aided by understanding the rhythmic structure of Persian poetry, the old Persian rhythmic cycles and the rhythmic characteristics of improvised and composed music. Analysis of more than fifty improvisations and pieces of composed music shows that the rhythmic organisation of gūsheh-ha and of musical genres in free metre, stretchable metre or fixed metre may be influenced by Persian poetic metres.[1]
Music-related manuscripts from the twelfth to fifteenth centuries CE provide an opportunity to compare more than thirty different rhythmic cycles. The system of rhythmic cycles is no longer explicitly used in Iranian music but contemporary improvisation and composition reveals that their influence is still felt, as in current techniques of tombak performance.[2]
This rich rhythmic vocabulary may bear ancestral relationship to the complex rhythms of India and certainly is related to traditional rhythms of North Africa and Ottoman Janissary and Turkish drumming.
The most common time signatures associated with the tombak are 6/8, 2/4, 4/4, 5/8, 7/8, and 16/8 times. Today the rhythmic ictus (beat or pulse) of the drum does not merely work as a metronome but is usually woven into the main fabric of the music as if it were any other (melodic) instrument.[3]
See also
[edit]Sources
[edit]- ^ Mohammad Reza Azadehfar, Rhythmic Structure in Iranian Music. A demonstration of most pieces examined on two audio CDs is included.
- ^ Mohammad Reza Azadehfar, Rhythmic Structure in Iranian Music.
- ^ CD by Mohammad Esmaili: Tombak Course Mahoor Inst. Archived 2007-09-27 at the Wayback Machine, "MadjidKhaladj". Archived from the original on 2009-01-06. Retrieved 2009-04-21.