STUDIES OF RHYTHM IN CLASSICAL MUSIC OF IRAN: REVIEWS AND QUESTIONS

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BOOBAN NEGAR

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Journal: Journal of Fine Arts: Performing Arts and Music Year:2009 | Volume:- | Issue:38 Page(s): 87-94

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Title

STUDIES OF RHYTHM IN CLASSICAL MUSIC OF IRAN: REVIEWS AND QUESTIONS

Author(s)

BOOBAN NEGAR | Issue Writer Certificate

Keywords

IRANIAN CLASSICAL MUSICQ2

RHYTHMQ2

METREQ3

REVIEWQ2

Abstract

Existing Literature on IRANIAN CLASSICAL MUSIC does not cover much information on the RHYTHMic aspects of the dastgah system. Available literature only provides a categorization of this repertoire into metric (zarbi) and non-metric pieces (avaz). Although such categorization can highlight some distinctions, it basically fails to answer theoretical questions on issues such as background structure, rhtythmic organization of the non-metric sections, rules governing phrase structure, and the significance of non-metric sections.The first step towards analysis of RHYTHMic structure in IRANIAN CLASSICAL MUSIC and any attempt to answer those questions would be to REVIEW the existing literature in a perspective of what we need to know about the forming rules for a so-called free RHYTHM structure and see if they go in a direction of analysis. The present REVIEW is trying to get to a point that sets a starting point for the future analysis, REVIEWing each of the very few distinct studies on RHYTHM of IRANIAN CLASSICAL MUSIC, taking their methods into consideration and comparing their results, in order to clarify their limitations and possible routes to answer aforementioned theoretical questions. The few studies can be divided in these four groups: 1) those that tend to categorize the "Gusheh-s" in accordance with their sense of periodicity instead of going toward any kind of understanding of the related timing structure, 2) those that try to relate the phrasings through syllabic structure of the accompanying words to "Aruz" or metrics which usually goes through "AruZ" rules of long and short syllables and then relate to "Iqa" 3) those that have come to find some common RHYTHMic phrases in different "Gusheh-s", and 4) those (actually one study) that tries to get to a cell-like basic pattern in generating free RHYTHM phrases. It is shown here that previous studies need to be revised from two points of view at least. One: for the limitations applied by default to each and every one of them but not fully noticed when coming to the final conclusions, e.g. analyzing a phrase on the basis of the words sung with it which has already taken the relations between language RHYTHM and music for granted, or comparing the sense of periodicity in different "Gusheh-s" without aiming towards any analysis at all, etc. and two for the noticeable.rhythmic/metric variety in the repertoire that needs to be examined carefully in a more independent way. Independent in terms of putting the grounds for the analysis free of words and alike, after which we' ll be able to look for the possible relations or similarities with poetic metrics (ARUZ) or cyclic meters (lqA').

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APA: Copy

BOOBAN, NEGAR. (2009). STUDIES OF RHYTHM IN CLASSICAL MUSIC OF IRAN: REVIEWS AND QUESTIONS. HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA), -(38), 87-94. SID. https://sid.ir/paper/173194/en

Vancouver: Copy

BOOBAN NEGAR. STUDIES OF RHYTHM IN CLASSICAL MUSIC OF IRAN: REVIEWS AND QUESTIONS. HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA)[Internet]. 2009;-(38):87-94. Available from: https://sid.ir/paper/173194/en

IEEE: Copy

NEGAR BOOBAN, “STUDIES OF RHYTHM IN CLASSICAL MUSIC OF IRAN: REVIEWS AND QUESTIONS,” HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA), vol. -, no. 38, pp. 87–94, 2009, [Online]. Available: https://sid.ir/paper/173194/en

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