Barbad

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Bārbad ( Persian باربد) (* in Jahrom ) was a musician and poet at the court of the Sassanid king Chosrau Parwiz (r. 590–628).

He played the lute Barbat and designed a modal music system, which is considered to be the oldest verifiable music system in the entire Near and Middle East and whose traces can still be found today in the designation of certain Dastgāhs or Maqāmāt of today's Persian , Arabic and Turkish art music . Later poets gave him the modal division into 7 Ḫosrawānī (= “the royal”), corresponding to the days of the week, 30 Laḥn (Arabic = “melody”), corresponding to the days of the month, and 360 Dastān , corresponding to the days of the Year according to the Sassanid calendar. In this way he was able to adjust the modes of the respective mood of his royal audience every day. He also informed the king of the loss of his favorite horse Shabdīz by improvising a piece alluding to the incident.

Other famous musicians of the time were Ramtin, Sarkasch (Barbads predecessor as court musician), Bāmschād, Āzādvār-i CANGI and Harper Nakisa, probably of Greek was origin.

See also

literature

  • Mehdi Barkechli: Radīf-e haft dastgāh-e mūsīqī-ye īrānī - Les systèmes de la musique traditionnelle de l'Iran (Radif) , Tehran 1973 (pers., French).
  • Jean During, Zia Mirabdolbaghi, Dariush Safvat: The Art of Persian Music . Translation from French and Persian by Manuchehr Anvar, Mage Publishers, Washington DC 1991, ISBN 0-934211-22-1 , pp. 39, 106 and 154.
  • Rūḥollāh Ḫāleqī: Naẓarī be-mūsīqī (A look at the music), Vol. 2, 4th edition, Tehran 1974 (pers.).

Remarks

  1. ↑ The music of the Sassanid era did not differentiate between poetry and music, rather both forms formed an inseparable unit: “history, however, records no poet's name of Sāsānian Persia. It mentions only musicians, who must have been not only composers and instrumentalists, but poets as well ”( Persian : Rāmeshgar, Gosān ) ( Yarshater in During et al., P. 154)
  2. ↑ This Arabic term indicates that it is a term added later.
  3. ↑ lit. “Place of the hand” corresponds to the place on the lute (“fret”) where a corresponding sound is generated.
  4. ↑ See R. Ḫāleqi, p. 26 f. and p. 70 (pers.). In this treatise it is also pointed out that the only written traditions from that time come from the Book of the Kings of Firdausi (940-1020) and the work Chosrau and Shirin by the poet Nezami (1141-1209). See also M. Barkechli, p. 1 f. (Pers., French); Nasser Kanani: The Persian Art Music. History, instruments, structure, execution, characteristics (Mussighi'e assil'e irani). Friends of Iranian Art and Traditional Music, Berlin 1978, p. 1
  5. ↑ Stuart Cary Welch: Persian book illumination from five royal manuscripts of the sixteenth century. Prestel-Verlag, Munich 1976, 2nd edition 1978, p. 52 f.
personal data
SURNAME Barbad
ALTERNATIVE NAMES Bar bath
BRIEF DESCRIPTION Iranian musician and poet
DATE OF BIRTH before 628
PLACE OF BIRTH Jahrom
DATE OF DEATH 7th century or 8th century