A Study on the Effect of Dissonance Factors on Changings of Notes and Formation of Gushehs in Dastgah-e Mahoor

Q: How can I download an article?

To download an article from SID, first log in to the site, search for the article title, and click on the 'Download Article' option.

Q: How can I download an ISI article?

To download an ISI article on SID, enter the keyword or article title in the search bar, view the relevant results, click on the desired article, and select the 'Download Article' option.

Q: How can I access the SID database?

To access the SID database, visit SID.ir, create an account, and log in to access scientific resources.

Q: Is downloading articles from SID free?

Some articles on SID are available for free, while others require payment. Details are specified on the article's page.

Sahabi Siavash; EMAMI MOHAMMAD

مرکز اطلاعات علمی Scientific Information Database (SID) - Trusted Source for Research and Academic Resources

Journal Paper

Paper Information

Journal: Journal of Fine Arts: Performing Arts and Music Year:2020 | Volume:25 | Issue:3 Page(s): 25-34

Download Full-Text

Persian Verion

View:

433

Download:

Cites:

Information Journal Paper

Title

A Study on the Effect of Dissonance Factors on Changings of Notes and Formation of Gushehs in Dastgah-e Mahoor

Author(s)

Sahabi Siavash | EMAMI MOHAMMAD | Issue Writer Certificate

Keywords

Radif-e Q1

MirzaAbdollahQ1

Dastgah-e Q1

MahoorQ1

ModulationQ1

Changing NotesQ1

Dissonance FactorsQ1

Abstract

An important feature of Radif, in Iranian music repertoire, is consecutive Modulations )otherwise known as Modulation chains). In this article, we try to search for the roots of these Modulations and find the probable reasons for the Changing Notes in Dastgah-e Mahoor from MirzaAbdollah-version. There have not been any specific explanations with this subject in mind in previously published references even though there are numerous articles with general and qualitative theories about the compositional structure and theory of Dastgah. The first step of this procedure is specification of the unattached and semi-unattached notes with regard to the defined basic scale of Dastgah-e Mahoor. They can be determined as the notes that are prone to change. Unattached and semi-unattached notes are defined as notes that do not have perfect fourth interval relationship with other scale notes. As an explanation, the first ones do not have fourth interval from two sides, and the second ones do not have from one side with scale notes. These definitions, is derived from Owen Wright’ s definition, but with a little difference in regards to the unattached note in relation to determining the consonance ratio. On the other hand, the presence of Dissonance Factors can exert principals without violating the aural structure when composing melodies. In this discussion, the perfect fourth interval has a pivotal role. It is not only a criterion for melodic intervals, but it is used as an important interval for defining unattached or semi-unattached notes and finally for any Changing Notes. The other Dissonance Factors are about the sequence and presence of melodic intervals named “ Tanini” and “ Mojannab” and “ Baghieh” in a Tet-rachord. Safieddin was the first documented individual whom theorized the arrangements of these intervals for the formation of consonance tetrachords. He has mentioned some tips in this matter, about taking to account of them in progression of a melody. So these criteria could use for more smooth and beautiful compositional lines, including Radifs gushehs. In fact, it is assumed that the Safieddin’ s rules, which occurred before the formation of the Radifs, could have functionality within this form. Therefore, the researchers could use this theory in their analysis, as well. Investigating the Mahoor scale, the fourth and seventh notes do not have a perfect fourth interval. Therefore, it expected that the first Changing Notes are these. By use of this method, you can justify some Gushehs like “ Shekaste” and others, thus, transferring from one mode to another to resolve the dissonances. In this way, some little Gushehs are for the use as connectors. The ones between Shekaste and Rak mostly have this role. According to analysis on Dastgah-e Mahoor in this article, beside the mentioned Dissonance Factors, some other matters need to consider for explaining the main subject, Changing Notes. Practicable playing register of Tar, condition of the Changing Notes and condition of expression are of these matters. For example, because of their register, some Changing Notes cannot play in their right octave, so they appear in other octave.

Cites

No record.

References

No record.

Cite

APA: Copy

Sahabi, Siavash, & EMAMI, MOHAMMAD. (2020). A Study on the Effect of Dissonance Factors on Changings of Notes and Formation of Gushehs in Dastgah-e Mahoor. HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA), 25(3 ), 25-34. SID. https://sid.ir/paper/399715/en

Vancouver: Copy

Sahabi Siavash, EMAMI MOHAMMAD. A Study on the Effect of Dissonance Factors on Changings of Notes and Formation of Gushehs in Dastgah-e Mahoor. HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA)[Internet]. 2020;25(3 ):25-34. Available from: https://sid.ir/paper/399715/en

IEEE: Copy

Siavash Sahabi, and MOHAMMAD EMAMI, “A Study on the Effect of Dissonance Factors on Changings of Notes and Formation of Gushehs in Dastgah-e Mahoor,” HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA), vol. 25, no. 3 , pp. 25–34, 2020, [Online]. Available: https://sid.ir/paper/399715/en

Related Journal Papers