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Information Journal Paper

Title

Iranian Choral Music: The Challenges and Obstacles

Pages

  35-44

Abstract

 The first Iranian choir was founded in 1946 by Ruben Grigoryan, an Iranian-Armenian composer and choirmaster. Since then, many choral groups have been established, and Iranian Composers have had remarkable success with choral folksong arrangements. However, Iranian Choral Music, outside the genre of Iranian national music, has faced chal-lenges and obstacles which in turn has affected its progress. Some of these challenges were linked to vocal and verbal complexities, in relation to Iranian culture and literature which is reflected in the repertoire’ s limitations. Other unforeseeable obstacles were due to the aesthetic culture of Iranian audiences, and the fact that some Iranian musicians were opposed to promoting Western music which they associated with choral music. The history of Western music has shown that polyphony has been closely linked to religious vocal music. And over time, most polyphonic techniques have shifted from vocal )choral) music to instrumental music. This evidence suggests that “ polyphonic texture” is one of the cornerstones of choral music and is linked to the formation and development of religious music and their relevant genres. The opposing viewpoints of church music with Iranian religious culture has been yet another reason why choral music has been overlooked in Iran. In addition to the reasons mentioned above, other dilemmas facing Iranian Choral Music are that there are few written sources on Persian choral music, and much of the choral work of Iranian Composers has not been published. One notable source in the history of Iranian Choral Music is Amir Ashraf Aryanpour’ s book, “ Iranian music from the Constitutional Revolution to the Revolution of the Islamic Republic of Iran” , which includes reports on the establishment and activities of Iranian choirs. The present study, based on a few written and audio sources, as well as using interview methods and questionnaires, has explained and analyzed the challenges and obstacles of Iranian Choral Music. In this study, we interviewed ten Iranian musicians, among whom were composers, choirmasters, and musicologists, about the issues of Iranian Choral Music. Also, the opinions of 170 musicians such as researchers, instrumentalists, vocalists were surveyed through a Likert-type questionnaire. This study focuses on the main issues of Iranian Choral Music and studies the reasons for its underdevelopment. This research evaluates the factors of the non-expansion of choral music in Iran as follows: the complexities of composing and performing Iranian choral works, the strangeness of the Western choral singing style and the lack of connection between Western religious choral works and Iranian audiences. The present study emphasizes that future research on the social effects of singing in Iranian choirs can be effective in the development of Iranian Choral Music. In addition, in order to overcome the technical quandaries of choral music, Iranian Composers must take a definitive approach to this genre and explore polyphonic features present in Iranian music and incorporate them in this genre. This way, the popularity of this genre will grow in addition to presenting its originality and identity, thus relating better with the Iranian audiences.

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  • Cite

    APA: Copy

    ASKARI RABORI, HAMID. (2020). Iranian Choral Music: The Challenges and Obstacles. HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA), 25(3 ), 35-44. SID. https://sid.ir/paper/386268/en

    Vancouver: Copy

    ASKARI RABORI HAMID. Iranian Choral Music: The Challenges and Obstacles. HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA)[Internet]. 2020;25(3 ):35-44. Available from: https://sid.ir/paper/386268/en

    IEEE: Copy

    HAMID ASKARI RABORI, “Iranian Choral Music: The Challenges and Obstacles,” HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA), vol. 25, no. 3 , pp. 35–44, 2020, [Online]. Available: https://sid.ir/paper/386268/en

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