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Dastgah Music
Iranian/Persian traditional music (also known as ''mūsīqī-e sonnatī-e īrānī'' or ''mūsīqī-e aṣīl-e īrānī'') is now modernly classified into the Dastgāh system. This system is a modal system, in the fact that it utilizes distinct modes of music, in this case seven. Each of these seven modes, referred to as ''Dastgāh'', are then classified into smaller units (usually only one), each called an ''āvāz''. Every ''āvāz'' consists of short pieces and melodies of music called the '' gousheh'' that, although each has its own characteristics, share one central characteristic in the ''āvāz''. The seven main ''Dastgāh'' of Iranian music are modernly known as ''Shour'', ''Māhour'', ''Homāyoun'', ''Segāh'', ''Chāhārgāh'', ''Rāstpanjgāh'', and ''Navā''. Each of these seven is considered to be its own ''āvāz''. Yet, ''Dastgāh-e Shour'' also contains the four ''āvāz-e Abou'atā'', ''āvāz-e Bayāt-e-Tork'', ''āvāz-e Afshāri'', and ''āvāz-e Dashti'' along ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Iranian Traditional Music
Persian traditional music or Iranian traditional music, also known as Persian classical music or Iranian classical music, refers to the classical music of Iran (also known as ''Persia''). It consists of characteristics developed through the country's classical, medieval, and contemporary eras. It also influenced areas and regions that are considered part of Greater Iran. Due to the exchange of musical science throughout history, many of Iran's classical modes are related to those of its neighboring cultures. Iran's classical art music continues to function as a spiritual tool, as it has throughout history, and much less of a recreational activity. It belongs for the most part to the social elite, as opposed to the folkloric and popular music, in which the society as a whole participates. However, components of Iran's classical music have also been incorporated into folk and pop music compositions. History The history of musical development in Iran dates back thousands of yea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Traditional Music
Folk music is a music genre that includes traditional folk music and the contemporary genre that evolved from the former during the 20th-century folk revival. Some types of folk music may be called world music. Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, music that is played on traditional instruments, music about cultural or national identity, music that changes between generations (folk process), music associated with a people's folklore, or music performed by custom over a long period of time. It has been contrasted with commercial and classical styles. The term originated in the 19th century, but folk music extends beyond that. Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. This form of music is sometimes called contemporary folk music or folk r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dastgah
Dastgāh ( fa, دستگاه) 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 consists of a collection of musical melodies, . In a song played in a given , a musician starts with an introductory , and then meanders through various different , evoking different moods. Many in a given are related to an equivalent musical mode in Western music. For example, most in Dastgāh-e Māhur correspond to the Ionian mode in the Major scale, whilst most in Dastgāh-e Šur correspond to the Phrygian mode. In spite of 50 or more extant , 12 are most commonly played, with Dastgāh-e Šur and Dastgāh-e Māhur being referred to as the mother of all . Summary Each consists of seven basic notes, plus several variable notes used for ornamentation and modulation. Each is a certain modal variety subject to a course of development () that is determined by the pre-established order ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Modal Music
In music theory, the term mode or ''modus'' is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. ( Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek ''tonoi'' do not otherwise resemble their mediaeval/modern counterparts. In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation syste ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gousheh
Dastgāh ( fa, دستگاه) 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 consists of a collection of musical melodies, . In a song played in a given , a musician starts with an introductory , and then meanders through various different , evoking different moods. Many in a given are related to an equivalent musical mode in Western music. For example, most in Dastgāh-e Māhur correspond to the Ionian mode in the Major scale, whilst most in Dastgāh-e Šur correspond to the Phrygian mode. In spite of 50 or more extant , 12 are most commonly played, with Dastgāh-e Šur and Dastgāh-e Māhur being referred to as the mother of all . Summary Each consists of seven basic notes, plus several variable notes used for ornamentation and modulation. Each is a certain modal variety subject to a course of development () that is determined by the pre-established order ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dastgāh-e Šur
Dastgāh-e Šur ( fa, دستگاه شور; az, Şur) is one of the seven ''Dastgāh''s of Persian Music (Classically, Persian Music is organized into seven ''Dastgāhs'' and five '' Āvāz''es, however from a merely technical point of view, one can consider them as an ensemble of 12 ''Dastgāh''s). Introduction ''Šur'' is in some respects the most important of the ''Dastgāh''s. It contains a large body of pieces, and in its domain belong four important '' Āvāz''es: '' Dašti'', '' Abuatā'', '' Bayāt-e Tork'' and '' Afšāri''. A great many folk tunes, from different parts of Persia, are founded on the modal schemes of ''Šur'' or its derivative ''Dastgāh''s and ''Guše''s. The melodic formation in ''Šur'' is conceived within the modal structure shown below for ''Šur D'' : :: The characteristics of this mode are: # The tetrachord above the finalis (marked with "F") is the focal point of melodic activity. # The finalis is the most emphasized tone. # The 4th above is t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bayat E Turk
Bayat e Turk (Persian:بیات ترک) or Bayat e Zand (Persian:بیات زند) is a part of Dastgah-e Shur in Iranian traditional music. Some religious texts, like Adhan, are sung in this mode. Etymology The term "Turk" refers to the Turkic Qashqai people of Southern Iran, and does not refer to Turkmen People Turkmens ( tk, , , , ; historically "the Turkmen"), sometimes referred to as Turkmen Turks ( tk, , ), are a Turkic ethnic group native to Central Asia, living mainly in Turkmenistan, northern and northeastern regions of Iran and north-weste ... or Azeri People.This is thought to be because the folk songs of the Qashqai tribe are often sung in this manner. Branches This mode has some branches including: * Daramad e Avval (first preface) * Daramad Dovvom (second preface) * Daramad Sevvom (third preface) * Dogah * Ruholarwah * Jame daran * Mahdizarrabi * Zangooleh * Bastenegar * Naghme * Feili * Khosrawani * Haji Hassani * Mehrabani References {{Musical rad ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bayat E Kurd
Bayat e Kurd, also transliterated as Bayat-e Kord or in full as Avaz-e Bayat-e Kord (Persian:بیات کرد) (Kurdish:بیاتی کورد) is a part of Dastgāh-e Šur in Iranian classical music. in the past it was cited as a branch of Chahargah. Etymology The name of this branch of Iranian music refers to its Kurdish folklore Kurdish mythology is the collective term for the beliefs and practices of the culturally, ethnically or linguistically related group of ancient peoples who inhabited the Kurdistan mountains of northwestern Zagros, northern Mesopotamia and southeast ... origins. References {{Musical radif Kurdish music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Afshari (Iranian Music)
Avaz e Afshari (Persian:آواز افشاری) is one of the branches of Dastgah-e Shur in Persian classical music Persian traditional music or Iranian traditional music, also known as Persian classical music or Iranian classical music, refers to the classical music of Iran (also known as ''Persia''). It consists of characteristics developed through the coun .... It is cited as an independent modal system of Iranian music from the past. Afshari was noted as ''full of sadness''. This mode has many sad and plaintive songs or pleasant ones. Branches This mode has some branches including: * Daramad (preface) * Jame daran * Hesar * Araq * Hazin * Nahib * Rahawi * Qara'i * Masnavi * Sadri References {{Musical radif Persian music Radif (music) ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bayat E Esfahan
Bayat-e Esfahan (Persian: بیات اصفهان) is one of melodic pieces of Iranian traditional music, known as a branch of Dastgah-e Shur or Dastgah-e Homayun. Some musical theorists consider the Bayat-e Esfahan an independent dastgah within the Persian radif system. Features Ruhollah Khaleqi Ruhollâh Xâleqi ( fa, , born 1906 in Kerman, Iran – 12 November 1965 in Salzburg, Austria), also spelled as ''Khaleqi'', was a prominent Iranian musician, composer, conductor and author. He was the father of the first Persian women conduct ... has noted that this mode conveys the emotional capacity of both happiness and sadness. Branches Bayat-e Esfahan has a number of branches or , including: * (first preface) * (second preface) * * * * * * * * Sufi name (or Saki name) References {{Music-stub Iranian music Radif (music) ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dastgāh-e Māhur
Dastgāh-e Māhūr or Dastgaah-e Maahur ( fa, دستگاه ماهور) is one of the seven ''Dastgāh''s of Persian Music (Classically, Persian Music is organized into seven ''Dastgāhs'' and five '' Āvāz''es, however from a merely technical point of view, one can consider them as an ensemble of 12 ''Dastgāh''s). Introduction The intervallic structure of the mode of ''Māhur'' partly parallels that of the major mode in western classic music. Yet, because of the other elements which go into the making of Persian modes, probably no melody in the major mode can be said to be in the mode of ''Māhur''. A far closer analogue from an intervallic standpoint is the Obikhod scale (widespread in Russian medieval Znamenny chant and folk song) and the Jewish Adonai malakh mode. The modal structure of ''Māhur'' is shown below for ''Māhur C'' : :: The characteristics of this mode are: # The range is unusually wide, a minor 10th. # The finalis (marked "Ā,F") has a central position; it i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Radif
Radif ( fa, ردیف, meaning ''order'') is a rule in Persian, Turkic, and Urdu poetry which states that, in the form of poetry known as a ghazal, the second line of all the couplets (''s'' or ''shers'') ''must'' end with the ''same'' word/s. This repeating of common words is the of the ghazal. It is preceded by a ''qaafiyaa'', which is a repeating pattern of words. The following is an example of a ghazal by Daag Dehelvi. In this example the is . The is the following pattern of words: (in the first hemistich A hemistich (; via Latin from Ancient Greek, Greek , from "half" and "verse") is a half-line of verse, followed and preceded by a caesura, that makes up a single overall prosodic or verse unit. In Latin verse, Latin and Greek poetry, the hemist ...), , (in the fourth hemistich), , and . References Persian poetry Urdu-language poetry Ghazal Rhyme {{Poetry-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
