Document Type : Report
Author
Lecturer, University of Tehran
Abstract
Compositional repertoire in Iranian classical music tradition has been more and more important throughout the century. Since Ali-Naghi Vaziri and his caliph R.Khaleghi has begun to new experiences on composition in Iranian classical music, great number of works has composed and performed in context of Iranian music composition tradition. The second generation of Vaziri followers is A.Saba, M.Mahjoobi, F.payvar, H.Khorram, P.Yahaghi which have numerous mount of works in Iranian classical music genres like Tasnif. Although the third generation of Iranian classical musicians had a new ideology and approach about musical terms like Radif and its subordinates but seeking to modernizing Iranian music through development of composed repertoire. These works try to apply polyphony methods like counterpoint in case of Iranian modes and expressions. Most outstanding musicians in this generation are Hossein Alizadeh, Parviz Meshkatian, M.R Lotfi. Now, here is such a case report which is formed based on an idea to apply composition techniques through Iranian music named “Manzoomeh Zaman” (which means the poem of time). It is an instrumental suite for Iranian instruments ensemble include these in order of partiture manuscript: Santoor, Ghanoon, Tar, Oud, Tarbass, Nay, Kamancheh, Gheychak alto and accompaniment of cello in lack of string bass instruments in Iranian musical tradition. The text is a representation of creation procedure according to how could employ composition knowledge in creation of an Iranian classical music piece by analyzing “Manzoomeh Zaman”. In this report four aspects of musical composition is been focused in relation with the suite. The first one is Form, explaining the plan of Manzoomeh Zaman movements and relations with Form in classical meaning. The second aspect is texture, containing approaches to polyphony in the piece. There are many different hypothesizes among musicians about “how would Iranian music be polyphonic” and Manzoomeh Zaman tries not to be affected by just one opinion but contain everything that could help to sound Iranian music modes more pure. Both homophonic and polyphonic textures applied along movements. In addition all over the suite there is use of either harmony of thirds, fourths and some other clusters which composer feels tuned. The third aspect is orchestration. There is not any practical instruction about how to orchestrate iranian instruments, so there is an experimental attempt in the piece, to reach attractive and new combinations of instruments. The last aspect is musical language which is the most serious part of innovation in Manzoomeh Zaman. If suppose that iranian classical music has own language and structures for expression, so the suite tries to propel borders of this language. One of the most important evidences is trying to express totally without words which is such strange in Iranian compositional tradition. The other one is to applying Iranian modal system so freely than traditional repertoire. It means that modes here have more similar behavior to tonality concept. The last point is about modulation. The movement of modes in the piece from Chahargah to Homayoun and next one to Abu-ata and then move to Shour and at last modulation to Segah is not likely modulation in a traditional context.
Keywords