Radif

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Radīf ( Arabic - Persian ردیف, DMG series sequence concatenation ) designated within the classical Persian music (as well as in the Azerbaijani art music ) a collection of traditional, aufzuführender in a certain sequence of melodic figures that over several generations through oral transmission of masters have received (Ostāds) to their students .

The approximately 300 pieces of music or "melodies" ( Guschehs ; from Persian گوشه, DMG gūše , 'excerpt, corner, angle' with the meaning "modulus" or "modulation" within the corresponding maqām ) of the respective instrumental or vowel radifs are within several tonal systems , called Dastgāhs (or Awaz as a designation for a smaller or subordinate Dastgah), arranged. Essential elements in the performance and interpretation are improvised decorations of the motifs with sometimes complex ornaments . Up to the present outstanding champion develop additional interpretations , which are then named after them and extend the traditional melodies inventory from this "canonical register" so that each of these pieces (Guscheh) through its affiliation with one of the twelve modal systems ( dastgāh or Awaz , even Maqām ) and a master (or his radif for singing or a certain instrument) is characterized.

Learning the radīfs - which can only be inadequately represented by grades - requires a lot of practice (whereby direct contact with the master, who plays individual passages, which are exactly imitated and remembered by the student, is essential) and practice. This is the only way to grasp and internalize the essence of the interpreter so that he can reproduce parts of it at any time. The rhythms of these are strong Radīfs of poetic meters of Persian literature whose musical settings have a high priority in Iranian music, influenced. In 1965, the first course in Iranian classical music was established at the University of Tehran and appointed as a lecturer for Radīf Nur-Ali Borumand (1905–1977).

The origins of the radifs are believed to be in the Sassanid period, when the court musician Bārbad created certain compositions for Chosrau II (r. 590–628). Bārbad is said to have developed the basic division of the Dastgahs. Mirza Abdollah Farahani (1843–1918) made a systematic compilation of the orally transmitted melodies (or gushehs), which had been passed down orally but also changed over the centuries, and who established a binding order for these guschehs and referred to them as "Radif" . This "Radif" was first published in full by Musā Ma'rufi in 1963 and 1973 in modern music notation . 2006 Jean During was another version of the Radifs about the Cultural Institute Mahur out, and on September 28, 2009, were RADIF-hā in the Representative List of Intangible Cultural Heritage of UNESCO added.

Important Radif masters were z. B. (Mirzā) Hossein-Gholi (Radif for Tar ) and his brother (Mirzā) Abdollāh Farāhāni (Radif for stringed instruments, after whom the Radif, Radīf des Mīrzā 'Abdollāh , codified by him for the first time in the 19th century is named), ' Abdollāh Dawāmi (1899–1980; Radif for singing), Yusef Forutan, Faradsch Rezāiev, Asadollah Nayeb ("Asadollah Esfahani"; Radif for Ney ), Ziā ol-Zākerin (died 1973; Radif for singing) and Ali Akbar Schahnāzi (1897– 1985; Radif for Tar ) as well as the aforementioned Nur-Ali Borumand, who handed down the Radif of Mirza Abdollah.

One of the most authoritative musicians, musicologists and authors as a link in the tradition of the Radīf was Ali-Naghi Vaziri (1887–1979), who adopted the European notation for Persian music and invented separate accidentals for the “quarter tone” called microtone.

Building on this, his student Abolḥasan Ṣabā (1902–1957), who was important for the further development of Persian art music, wrote comprehensive school works for santur, violin / Kamantscheh and Tār / Setār, which were used nationwide for classical music lessons, so that the Radīf of Abolhasan Saba was also spoken of becomes. His compositions are part of the classical music repertoire, which are repeatedly made public.

Performance practice

A dastgāh (mostly from the traditional radif of a master) with all or part of the associated gusheh is performed. The suite-like sequence begins with the introductory presentation of the basic mode of the respective Dastgāh or Āwāz, the Persian درآمد, DMG dar-āmad , literally "that which comes out" is called. This can be preceded by a through-composed instrumental prelude in slow 4/4 time. This is followed by further defined sections ( guscheh ), e.g. B. Tschahār-Mezrāb (a rhythmic-virtuoso, in 6/16 time instrumental piece of the Dastgah "Suite") and Zarbi (an improvised rhythmic piece of music). The end of a Dastgāh performance is often a (song) composition ( Persian تصنيف, DMG Taṣnīf , tooترانه, DMG Tarāne , called 'song') and a lively dance melody ( Persian رنگ, DMG Reng ) whose origins go back to regional dances.

The classical sequence consisting of improvised and non-improvised pieces of Pishdaramad, Tschahar Mezrab, Awaz (freely improvised singing with an indefinite meter), Tasnif (ballad-like song composition) and Reng is also found modified in terms of the number and order of the molded parts in today's performances. There are purely instrumental performances, but more often they are composed of vocal and instrumental sections.

Gushehs used in the radifs

Abol, Abol tschap, Bayāt-e 'Adscham,' Arāgh, 'Aschirān, Āschurāwand, Āwāz, Āzarbāydschāni, Bachtiyāri, Bahr-e nur, Bāl-e kabutān, Bardāscht, Basteh-negār, Bādāwi, Bidāwi, Bidegāni, Bozorg, Busalik, Chārā, Chāwarān, Chodschasteh, Chosrawāni, Dād, Darāmad (introduction to each Dastgah), Delkasch, Denāseri, Dobeyti, Dogāh, Dschāmeh-darān, Esfahānak, Farangyli, Farang wa Shusnak (one Kind of final cadence), Gabri, Gardāniye, Gawescht, Gereyli, Moghaddame-ye Gereyli, Ghajar, Gham-angiz, Gharaje, Gharā'i, Gharam, Ghatār, Ghesmat, Gilaki, Golriz, Hādschi Hasani, Hādschiyāniār , Hodi, Hoseyn, Kereschmeh, Kereschmeh bā Muye, Kereschmeh-ye Rāk, Koroghli, Koschte-morde, Kutschek, Leyli o Madschnun, Lezgi, Madschles-afruz, Madschosli, Maghlub, Māhur-e saghir, Malek Hoseyn, Mansuri, Masihi Masnawi, Matn wa hāschiye, Mawāliān, Māwarā-on-nahr, Mehdi Zarrābi, Mehrabāni, Meygoli, Mo'ālef, Mobargha ', Mochālef, Moghaddameh-ye Dād, Mohayy he, Mollā Nāzi, Morād Chāni, Muye, Nafir, Naghmeh (e.g. B. Naghmeh-ye Maghlub), Nahib, Nahoft, Nasir Chāni (Tusi), Nastāli, Ney-dāwud, Neyriz, Neyschāburak, Nowruz, Nowruz-e 'arab, Nowruz-e Chārā, Nowruz-e Sabā,' Oschschāgh, Owdsch (also Owj), 'Ozzāl, Pahlawi, Pandschgāh, Pas Hesār, Pischdarāmad (prelude), Pisch Zanguleh, Radschaz, Bayāt-e Rādscheh, Rāk, Rāk-e hendi, Rāk-e keschmir, Rāk-e' Abdollāh, Rāmkelāh, Rāwandi, Rāz o niyāz, Razawi, Reng (e.g. Reng-e Delgoschā, Reng-e Farah, Reng-e Harbi, Reng-e Nastāri, Reng-e Osul, Reng-e Schahr-āschub, Reng-e Schalachu , Reng-e Yek chube), Rohāb, Ruh-afzā, Ruh-ol-arwāh, Safā, Safir-e Rāk, Sāghi-nāmeh, Salmak, Sayachi, Schāh Chatā'i, Schahnāz, Schahnāz-e kot ('Aschegh kosch ), Schekaste, Shur-e pā'in daste, Shushtari, Sepehr, Sufi-nāmeh, Suz o godāz, Tacht-e tāghdis (Tacht-e Kāwus), Tarab-angiz, Tarz, Tschahār Guscheh, Tschahār-mezrāb, Tschahār- pāreh, Tschakāwak, Tusi, Yaghuluna, Zābol, Zang-e schotor, Zanguleh, Zanguleh-ye saghir wa kabir, Zir-āfkand, Zirkesch-e Salmak.

See also

literature

  • Mehdi Barkechli: Les Systèmes de la Musique traditional de l'Iran (Radif). Tehran 1973.
  • Nelly Caron, Dariouche Safvate: Iran - Les Traditions musicales. Buchet / Chastel, Institut International d'Études Comparatives de la Musique, Berlin 1966.
  • Margaret Caton: Performance Practice in Iran: Radīf and Improvisation. In: Virginia Danielson, Dwight Reynolds, Scott Marcus (Eds.): The Garland Encyclopedia of World Music. Volume 6: The Middle East. Garland, London 2002, pp. 129-143.
  • Jean During: The Radif of Mirzâ Abdollâh. A Canonic Repertoire of Persian Music. Edited by Jean During, Mahoor Institute of Culture and Art, Teheran 2006, ISBN 964-8772-09-6 , in particular pp. 288–329.
  • Jean During, Zia Mirabdolbaghi, Dariush Safvat: The Art of Persian Music . Mage Publishers, Washington DC 1991, ISBN 0-934211-22-1 , passim , especially pp. 15, 35-37, 50-55, 60-71, 79-87, 92-97, 202-204, 214-216 and 244-247.
  • Hormoz Farhat: The Dastgāh Concept in Persian Music. Cambridge University Press, Cambridge 1990, ISBN 0-521-30542-X , especially pp. 21-25.
  • Nasser Kanani: Traditional Persian art music: history, musical instruments, structure, execution, characteristics. 2nd, revised and expanded edition. Gardoon Verlag, Berlin 2012, pp. 183-226.
  • Bruno Nettl : The Radif of Persian Music. Studies of Structure and Cultural Context in the Classical Music of Iran. Elephant & Cat, Champaign / Illinois 1987. (revised 2nd edition. 1992)
  • Mohammad Taghi Massoudieh: Radīf vocal de la musique traditional par Maḥmūd-e-Karīmī. Tehran 1978.
  • Ella Zonis: Classical Persian Music - An Introduction. Harvard University Press, Cambridge / Massachusetts 1973, ISBN 0-674-13435-4 , in particular pp. 62-97 ( The Radif of Persian Art Music. ).

Web links

Remarks

  1. ^ Jean During: The Radif of Mirzâ Abdollâh. A Canonic Repertoire of Persian Music . Edited by Jean During, Mahoor Institute of Culture and Art, Teheran 2006, pp. 288–329, especially p. 290.
  2. ↑ Edith Gerson-Kiwi: The Persian Doctrine of Dastga Composition. A phenomenological study in the musical modes. Israel Music Institute, Tel-Aviv 1963, p. 22 f.
  3. ^ Ella Zonis: Classical Persian Music - An Introduction. Harvard University Press, Cambridge / Massachusetts 1973, pp. 98–125 ( improvisation )
  4. ↑ 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. 11 f.
  5. ^ Jean During: The Radif of Mirzâ Abdollâh. A Canonic Repertoire of Persian Music . Edited by Jean During, Mahoor Institute of Culture and Art, Teheran 2006, p. 294.
  6. ^ Jean During: The Radif of Mirzâ Abdollâh. A Canonic Repertoire of Persian Music . Edited by Jean During, Mahoor Institute of Culture and Art, Teheran 2006, p. 294 f.
  7. ^ Nasser Kanani: Traditional Persian Art Music: History, Musical Instruments, Structure, Execution, Characteristics. 2nd, revised and expanded edition. Gardoon Verlag, Berlin 2012, pp. 230–237.
  8. ↑ Margaret Caton: Performance Practice in Iran: Radīf and Improvisation. In: Virginia Danielson, Dwight Reynolds, Scott Marcus (Eds.): The Garland Encyclopedia of World Music. Volume 6: The Middle East. Garland, London 2002, p. 129.
  9. ↑ During, Mirabdolbaghi ​​(1991), p. 33 f.
  10. ^ Nasser Kanani: Traditional Persian Art Music: History, Musical Instruments, Structure, Execution, Characteristics. 2nd, revised and expanded edition. Gardoon Verlag, Berlin 2012, p. 189 f.
  11. ↑ Musa Ma'rufi: Radif-e Musiqi-ye Iran. Honarha-ye Ziba, Tehran 1963.
  12. ↑ Mehdi Barkechli (. Scientific text and ed.): Les Systèmes de la Musique Traditional de l'Iran (radif). Tehran 1973. (See also literature list.)
  13. ^ Jean During: The Radif of Mirzâ Abdollâh. A Canonic Repertoire of Persian Music . Edited by Jean During, Mahoor Institute of Culture and Art, Teheran 2006.
  14. ^ Nasser Kanani: Traditional Persian Art Music: History, Musical Instruments, Structure, Execution, Characteristics. 2nd, revised and expanded edition. Gardoon Verlag, Berlin 2012, p. 191, note 243
  15. ↑ Cultural heritage
  16. ↑ Daryush Pirniakan (Ed.): Radif of Mirza Hoseyn-Qoli. According to the version of Ali Akbar Shahnazi. 2001 (288 pages).
  17. ↑ Farâmarz Pâyvar (Ed.): Vocal Radif and Old Tasnifs, according to the Version of Ostâd Abdollâh Davâmi. Mahoor Institute of Culture and Art, Tehran 2005, ISBN 964-6409-37-7 .
  18. ↑ Cf. his main work Dastūr-e tār ( Persian دستور تار, 'Instructions for Tār', p. also here ).
  19. ↑ See Junker / Alavi: Persian-German Dictionary , Leipzig / Teheran 1970, p. 303.
  20. ↑ Persian پيش درآمد, DMG pīš-dar-āmad , 'overture', from Persian پيش, DMG pīš , 'before', and dar-āmad .
  21. ↑ 'Four strokes of the plectrum'; derived from Persian chahār ('four') and mezrāb ('blow, mallet, plectrum'); see. on this Ella Zonis: Classical Persian Music - An Introduction. Harvard University Press, Cambridge / Massachusetts 1973, p. 133.
  22. ↑ Ahmad Ebadi: 10 Pieces of Chaharmezrab. Edited by MR Gorginzadeh, ISBN 964-5842-50-6 , pp. 5-26.
  23. ↑ Edith Gerson-Kiwi: The Persian Doctrine of Dastga Composition. A phenomenological study in the musical modes. Israel Music Institute, Tel-Aviv 1963, p. 15 f.
  24. ^ Nasser Kanani: Traditional Persian Art Music: History, Musical Instruments, Structure, Execution, Characteristics. 2nd, revised and expanded edition. Gardoon Verlag, Berlin 2012, pp. 209–211 (“Pisch Daramad”) and 212 f. ("Tschahar Mezrab")
  25. ^ Hormoz Farhat: The Dastgāh Concept in Persian Music. Cambridge University Press, Cambridge 1990, pp. 21-23.
  26. ↑ 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. 13 (“Pischdarâmad”), 14 (“Tschahar Mezrab”) and 18 (“Reng”).
  27. ↑ Audio sample: Reng-e Koroghli
  28. ^ Ella Zonis: Classical Persian Music - An Introduction. Harvard University Press, Cambridge / Massachusetts 1973, pp. 138-143.
  29. ^ Hormoz Farhat: The Dastgāh Concept in Persian Music. Cambridge University Press, Cambridge 1990, p. 23.
  30. ^ Ella Zonis: Classical Persian Music - An Introduction. Harvard University Press, Cambridge (Massachusetts) 1973, pp. 147 f.
  31. ^ Nasser Kanani: Traditional Persian Art Music: History, Musical Instruments, Structure, Execution, Characteristics. 2nd, revised and expanded edition. Gardoon Verlag, Berlin 2012, pp. 205–226.
  32. ↑ The term Dar-āmad (درآمد), literally "that which comes out", is the introduction to the basic mode or the basic scale of the respective Dastgāh or Āwāz .