Английская Википедия:Dastgāh
Шаблон:Short description Шаблон:Italics title Шаблон:Culture of Iran Dastgāh (Шаблон:Lang-fa) is the standard musical system in Persian art music, standardised in the 19th century following the transition of Persian music from the Maqam modal system. A Шаблон:Transl consists of a collection of musical melodies, Шаблон:Transl. In a song played in a given Шаблон:Transl, a musician starts with an introductory Шаблон:Transl, and then meanders through various different Шаблон:Transl, evoking different moods. Many Шаблон:Transl in a given Шаблон:Transl are related to an equivalent musical mode in Western music. For example, most Шаблон:Transl in Dastgāh-e Māhur correspond to the Ionian mode in the Major scale, whilst most Шаблон:Transl in Dastgāh-e Šur correspond to the Phrygian mode. In spite of 50 or more extant Шаблон:Transl, 12 are most commonly played, with Dastgāh-e Šur and Dastgāh-e Māhur being referred to as the mothers of all Шаблон:Transl.
Summary
Each Шаблон:Transl consists of seven basic notes, plus several variable notes used for ornamentation and modulation. Each Шаблон:Transl is a certain modal variety subject to a course of development (Шаблон:Transl) that is determined by the pre-established order of sequences, and revolves around 365 central core melodies known as Шаблон:Transls (each of these melodies being a Шаблон:Transl), which musicians come to know through experience and absorption. This process of centonization is personal, and it is a tradition of great subtlety and depth. The full collection of Шаблон:Transls in all Шаблон:Transls is referred to as the radif. During the meeting of The Inter-governmental Committee for the Safeguarding of the Intangible Heritage of the United Nations, held between 28 September – 2 October 2009 in Abu Dhabi, radifs were officially registered on the UNESCO List of the Intangible Cultural Heritage of Humanity.[1][2][3]
The system of twelve Шаблон:Transls and Шаблон:Transls has remained nearly the same as it was codified by the music masters of the nineteenth century, in particular Mîrzā Abdollāh Farāhāni (1843–1918). No new Шаблон:Transl or large Шаблон:Transl has been devised since that codification. When in the modern times an Шаблон:Transl or a Шаблон:Transl has been developed, it has almost always been through borrowings from the extant Шаблон:Transls and Шаблон:Transls, rather than through unqualified invention. From this remarkable stability one may infer that the system must have achieved "canonical" status in Iran.Шаблон:Citation needed
Terminology
The term Шаблон:Transl has often been compared to the musical mode in Western musicology, but this is inaccurate. A Шаблон:Transl is usually the name of the initial mode of a piece, which the music returns to—and moreover, a Шаблон:Transl identifies a group of modes grouped according to tradition. In short, a Шаблон:Transl is both the collective title of a grouping of modes and the initial mode of each group.[4]
According to musicians themselves, the etymology of the term Шаблон:Transl is associated with "the position (Шаблон:Transl) of the hand (Шаблон:Transl) [on the neck of the instrument]". The Persian term Шаблон:Transl can be translated as "system", and Шаблон:Transl is then "first and foremost a collection of discrete and heterogeneous elements organized into a hierarchy that is entirely coherent though nevertheless flexible."[5]
In conventional classifications of Persian music, Abū ʿAṭā, Daštī, Afšārī, and Bayāt-e Tork are considered sub-classes of Šur Шаблон:Transl. Likewise, Bayāt-e Esfahān is a sub-class of Homāyun, reducing the number of principal Шаблон:Transl to a total of seven. A sub-class in the conventional system is referred to as Шаблон:Transl.
Distinguished pitches
A Шаблон:Transl is more than a set of notes, and one component of the additional structure making up each Шаблон:Transl is which pitches are singled out for various musical functions. Examples include:
- Finalis, so named because it usually functions as the goal or destination tone that melodic cadences end on when they have a conclusory feel. This is also sometimes referred to as "tonic" but some authors avoid that usage because "tonic" is associated with Western tonality.[6]
- Āghāz, meaning "beginning", the pitch on which an improvisation in a Шаблон:Transl usually begins. In some Шаблон:Transl it is different from the finalis while in others it is the same pitch.
- Ist ("stop"), a pitch other than the finalis which often serves as the ending note for phrases other than final cadences.
- Šāhed ("witness"), a particularly prominent pitch.
- Moteghayyer ("changeable"), a variable note – one that consistently appears as two distinct pitches, which can be used alternately in different contexts or at the performer's discretion.
The Seven Dastgahs
Most scholars divide the traditional Persian art music to seven Шаблон:Transls, although some divide them into 12 Шаблон:Transls (by counting Abu Ata, Dashti, Afshari, Bayat-e Kord and Bayat-e Esfahan as separate Шаблон:Transls rather than subcategories of other Шаблон:Transls).[6] Those who categorize the traditional Persian art music into seven Шаблон:Transl often also list seven Шаблон:Transl (Шаблон:Lang-fa, which means songs) in conjunction with these Шаблон:Transls. The following is a list of the seven Шаблон:Transls and seven Шаблон:Transls:
List of common Dastgah and Avaz
Listed in order as per the radif (music) of Mirza Abdollah. Flats are shown with a ׳♭׳, and koron (half flats) are shown with a ׳p׳.
- Shur شور (Ca Df Ep F G A/Apm B♭ C)
- Segah سهگاه (C D/Dp Epa,f,ŝ F G Ap B♭ C)
- Nava نوا (C D Epi Fa Gf A B♭ C)
- Homayun همایون (C D E♭a Fi Gf Apŝ B C)
- Bayat-e-Esfahan (also called simply Esfahan) اصفهان (C D Epi F♯ Ga,f,ŝ A B♭ C)
- Chahargah چهارگاه (Cf Dp E F G Apa B C)
- Mahur ماهور (Ca,f Dŝ E F G A B C)
- Rast-Panjgah راست پنجگاه (C D E Fa,f G A B♭ C)
Less common:
- Bayat-e-kord (C D E♭ F G Ap B♭ C) (Sometimes included as an Avaz under Shur)
- Shushtar (Sometimes included as an Avaz under Homayun, but usually just as a gushe)
Note that in some cases the sub-classes (Шаблон:Transls) are counted as individual Шаблон:Transls, yet this contradicts technicalities in Iranian music.
See also
References
Sources
- Шаблон:Cite encyclopedia
- Шаблон:Cite encyclopedia
- Шаблон:Cite encyclopedia
- Шаблон:Cite encyclopedia
- Шаблон:Cite encyclopedia
- Шаблон:Cite encyclopedia
- Шаблон:Cite encyclopedia
- Шаблон:Cite book
- Шаблон:Cite encyclopedia
- Шаблон:Cite book
- Шаблон:Cite encyclopedia
Further reading
- Hormoz Farhat, The Dastgāh Concept in Persian Music (Cambridge University Press, 1990). Шаблон:ISBN, Шаблон:ISBN (first paperback edition, 2004). For a review of this book see: Stephen Blum, Ethnomusicology, Vol. 36, No. 3, Special Issue: Music and the Public Interest, pp. 422–425 (1992): JSTOR.
- Ella Zonis, Classical Persian Music: An Introduction (Harvard University Press, 1973)
- Lloyd Clifton Miller. 1995. Persian Music: A Study of Form and Content of Persian Avaz, Dastgah & Radif Dissertation. University of Utah.
- Bruno Nettl, The Radif of Persian Music: Studies of Structure and Cultural Context (Elephant & Cat, Champaign, 1987)
- Ella Zonis, Contemporary Art Music in Persia, The Musical Quarterly, Vol. 51, No. 4, pp. 636–648 (1965). JSTOR
- Шаблон:Cite encyclopedia
External links
- The Dastgah system
- A sample of solo music on Setār by Master Ahmad Ebadi in the following Dastgahs: Segāh, Chahārgāh, Homāyoun, Esfahān, Afshāri.
Шаблон:Melody types Шаблон:Musical radif
- ↑ The Radif of Iranian music: Inscribed in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity, UNESCO.
- ↑ Noruz and Iranian radifs registered on UNESCO list, Tehran Times, 1 October 2009, [1].
- ↑ Nowruz became international, in Persian, BBC Persian, Wednesday, 30 September 2009, [2].
- ↑ Шаблон:Harvp
- ↑ Шаблон:Harvp
- ↑ 6,0 6,1 Шаблон:Cite book
