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A "row" in the theory of Iranian music, is the arrangement of songs and melodies. Each of these songs, called a corner. Instrument. "Instrument" in traditional Iranian music, refers to a collection of several melodies (corners) that are in harmony with each other in steps, tunes, and intervals of notes. Song. "Song", here is: A special kind of ...
Dastgāh (/ d æ s t ˈ ɡ ɑː /; Persian: دستگاه, Classical: [dastˈɡɑːh], Iran: [dæstˈɡɒː(h)]) 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 dastgāh consists of a collection of musical melodies, gushehs.
Music-related manuscripts from the twelfth to fifteenth centuries CE provide an opportunity to compare more than thirty different rhythmic cycles. The system of rhythmic cycles is no longer explicitly used in Iranian music but contemporary improvisation and composition reveals that their influence is still felt, as in current techniques of ...
Dastgāh-e Māhūr or Dastgaah-e Maahur (Persian: دستگاه ماهور; Azerbaijani: Mahur) is one of the seven Dastgāhs of Persian Music (Classically, Persian Music is organized into seven Dastgāhs and five Āvāzes, however from a merely technical point of view, one can consider them as an ensemble of 12 Dastgāhs).
Later, the arrival of new western influences, such as the use of the guitar and other western instruments, marked a turning point in Iran's popular music by the 1950s. [18] Iranian pop music is commonly performed by vocalists who are accompanied with elaborate ensembles, often using a combination of both indigenous Iranian and European instruments.
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.
The traditional music of Iran is based on the radif, which is a collection of old melodies that have been handed down by the masters to the students through the generations. Over time, each master's own interpretation has shaped and added new melodies to this collection, which may bear the master's name.
The 5th above (marked with "M") is a Moteqayyer (meaning variable in Persian). When the melodic line is descending, it is usually lowered by a micro tone from a to a (a koron ). This lowering is responsible for the creation of a sense of finalis for the 4th above, since by lowering the a ♮ to a , the original tetrachord is recreated from g.