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Iranian classical music is modal and monophonic. The most serious
interpretations generally consist of a melodic soloist (or sometimes, a
duet) and often a percussion accompanist. Orchestral combinations are
becoming popular, but I will largely ignore those.
There are twelve basic modes: seven primary modes (dastgah-s) and
five secondary modes (avaz-s). Each avaz is derived from a specific
dastgah, but it is also able to stand by itself. Performance is based
on the idea of a "suite" in a single mode, in which the artist will
choose items to make a finished composition. Actual performances
generally proceed largely as improvisations, incorporating and
culminating in the chosen melodic patterns. Part of the artistry is to
make smooth transitions between elements of the suite.
The standard melodic patterns of Iranian classical music are
codified in something called the Radif, written down from oral sources
at the beginning of this century. The Radif consists of a large number
of melodies or sequences (gushe-s) grouped by mode. Some dastgah-s
have more gushe-s than others. To form a suite, the artists will
select appropriate gushe-s, along with classical poetry, improvised
elements or original compositions. Some gushe-s are always present in
a classical rendition, whereas others are less common; the order within
the suite is also pre-determined, to some extent. Some gushe-s and
compositions have specific rhythms, while others do not. When there is
a percussion accompanist, he will take part in some sections but not in
others. Finally, there are different versions of the Radif that
different artists will use, especially for different instruments.
There is a large body of classical poetry, from medieval times to
the present day, available to vocalists. This is some of the world's
great literature, and the flowing, timeless intensity of an Iranian
singer will really bring these fine poems to life. Most of the poems
are rhythmically free (that is, sung without a time signature, but
following an internal rhythm of phrasing), and are generally performed
within the context of a suite of gushe-s taken from the Radif.
Although the classical poetry is largely medieval, and the
codification of the Radif is modern, the musical forms are believed to
date from the days of Classical Persia. Iranian music has managed to
sustain itself in recent decades, despite political suppression, and
looks to be undergoing a burst of creativity.
A variety of instruments are used; I'll list them in no particular
order. The santur is a hammered dulcimer, similar to the santur used
in Indian classical music (pioneered by
Shivkumar Sharma), though of a brighter tone. The tar and setar are
fretted plucked-string instruments, with sharp overtone series (the tar
is the larger of the two). The ney is the reed flute common throughout
the Near-east, although the Iranian technique is probably the most
versatile, using both the low breathy register and the sharp higher
register (held between the teeth). The kamancheh is a narrow, upright
bowed-string instrument. The violin and oud (ancestor of the lute) are
also used.
Iranian classical instruments are generally brighther and crisper in
tone than many of those used by neighboring cultures. However, the
voices are very deep and rich, although highly animated. The main
percussion instruments are the zarb (also called tombak) and daf (in
that order), and both tend to add a surprisingly subtle sonority to a
performance. There are also solo percussion recordings, but I do not
explore those.
From an article by T. M. McComb
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| 2001 NC Concert
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