The Playing Style of the Master Hassan Kasaei

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Zeynali Mohammadreza

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Journal Paper

Paper Information

Journal: JOURNAL OF DERAMATIC ARTS AND MUSIC Year:2020 | Volume:10 | Issue:19 Page(s): 101-115

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Information Journal Paper

Title

The Playing Style of the Master Hassan Kasaei

Author(s)

Zeynali Mohammadreza | Issue Writer Certificate

Keywords

Hasan KassaiQ1

Playing the NeyQ1

StylisticsQ1

Ney playingQ1

NeyQ2

Abstract

Method and how to provide and state music (external and actualized manifestation of mental materials and assets plus personal inventions and tendencies) is called method or style. Study and familiarity of musicians with technical structures and elements of different schools and methods will cause increasing and varying executive techniques set for musicians and reviving past heritage. These are considered as a part of today’ s activities of musicians. Based on documentary works in a 100– years juncture, a general division can be achieved about Ney musicians of Iranian music. Works of Ney musicians can be divided into three clear eras: the Qajar, the Pahlavi, and the Islamic Revolution era. In these ares, two musicians are considered as the most significant ones, Nayeb Asadollah Esfahani and Hassan Kassai who provided two different styles and methods in Ney playing/fa?page=1&sort=1&ftyp=all&fgrp=all&fyrs=all" target="_blank">Ney playing. According to the opinion and quotation of masters and acquaintances with music, Hassan Kassai is one of the geniuses and most capable musicians in one hundred years. Today, all Ney musicians are indebted to him, whether for his direct or indirect mastering. Kassai made a new method in Ney playing/fa?page=1&sort=1&ftyp=all&fgrp=all&fyrs=all" target="_blank">Ney playing. But what are stylistic specifications of Kassai’ s playing? To answer this question, it has been tried to use all existing sources like left audios and visual works, both formal and private release and also, oral and written opinions of some music masters in this regard. Bass voice in musicians before Kassai is soft bass but bass sound in Kassai’ s playing is strong and has much volume. Kassai music is subject of Isfahan song school. He has provided three different narrations of Iranian music row. Most of his sentences have been run as songs and are based on poem syllables that he had in mind. Using elongated notes in sentences, no compression and opening figure and sentence motifs, attention and using silence between music sentences in playing have extended and spread theme or melody in different forms. He has tried to make sense and feeling of Gushehes, pieces, and cheerfulness in playing. He has extremely noted to comply with dynamics and make cases of musical pieces. His performed sentences have disconnected and connected notes, stressed on high and low melody, trail, and battery. He has used broken arpeges and accords. In performances, sometimes he has had modulation and referred to other modes. Four plectrums with Ney have been performed by Kassai for the first time. By using different lengths of Ney, he has participated in orchestras and choirs more than before, composing many pieces like City and Hope Caravan.

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APA: Copy

Zeynali, Mohammadreza. (2020). The Playing Style of the Master Hassan Kasaei. JOURNAL OF DERAMATIC ARTS AND MUSIC, 10(19 ), 101-115. SID. https://sid.ir/paper/375581/en

Vancouver: Copy

Zeynali Mohammadreza. The Playing Style of the Master Hassan Kasaei. JOURNAL OF DERAMATIC ARTS AND MUSIC[Internet]. 2020;10(19 ):101-115. Available from: https://sid.ir/paper/375581/en

IEEE: Copy

Mohammadreza Zeynali, “The Playing Style of the Master Hassan Kasaei,” JOURNAL OF DERAMATIC ARTS AND MUSIC, vol. 10, no. 19 , pp. 101–115, 2020, [Online]. Available: https://sid.ir/paper/375581/en

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