Document Type : Original Article
Author
ART Universuty
Abstract
Since the first generation of Iranian music, in the twentieth century, went to European countries to learn music, they have sought to change the structure of music. One of these changes was the theory of adjusting the Iranian distances by Ali-Naqi Vaziri and harmonizing it. This approach was so welcomed that other composers, such as Morteza Hannaneh, also attempted to incorporate Iranian music into Western classical orchestral structures and to consider the harmony of interest of it. Thus, by studying Western music and various harmonies, he concluded that Iranian music could benefit from paired harmonies such as second and fourth harmonics because of the special structures. And in this approach Iranian music will be able to preserve its identity and be seen and heard in global structures.
Therefore, he presented his couple's theory of harmony with a functional representation in his works and then in the structure of scientific texts such as writing a book with themes like missing steps, believing that, according to his experiences, the harmonies used by him meet the needs of Iranian harmonic music. And he was trying to make this theory universal. In this way he even criticized the theories of the acoustic and underlying sciences of Iranian music that were in the works of Farabi and others, and believed that all these theories should be criticized in the scientific and practical structures of Western music so that Iranian music could be modeled on the Western and Symphonic orchestra to adapt. Of course, Hannaneh embarked on this difficult and challenging path initially with the likes of Parviz Mahmoud and Rubik Gregorian. But in the middle of this way, with the separation and departure overseas, the responsibility was left to Hannanah’s, who also struggled with the sense of responsibility and somehow the mission of this great change, with great opposition. Whether it was criticized at the time or until his ideas and practices were criticized.
Whatever the case, this is so important that it is occasionally dealt with. Of course, he was also aware that this was accompanied by some kind of historical and religious determinism, which did not allow his approaches to the field of music to operate. But upon reading this research and pondering within the story, the reader realizes that the theories of humanness are possible in some parts. However, in some cases they have gone astray. In keeping with the movements of Hannaneh in Iranian music and the thinking of other Iranian music theorists such as Barksheli, Masoudieh, Mansouri, Pourtorab, Hormoz Farhat on the one hand, and practical measures in the field of musicianship and performance such as Waziri, Khaleghi, Boroumand and Musa Maroufi on the other hand, we note that others have done research in this field, and everyone has tried to advance the science of Iranian music, but he has been persuaded to do so by creating innovative theories in a Western scientific sense.