Document Type : Original Article
Authors
1
M. A. in Composition, Faculty of music, University of Art, Tehran, Iran
2
Associate Professor, Department of Music, College of Fine Arts, University of Tehran, Tehran, Iran
10.30480/dam.2022.3114.1605
Abstract
Modal changes in Iranian music are dependent on specific criteria derived from Radif. Gonbade Mina, a work written by Parviz Meshkatian and arranged by Mohammad Reza Darvishi, goes beyond these criteria. In this work, modulations have been done from the origin mode of the piece (Dashti) to purposes other than the purposes specified in the Radif. These modal changes are tied to the concepts of alteration and Motaghayer because both concepts are implemented in the modulation process, in addition to their other uses. Therefore, one of the aims of this research is to analyze the concept of alteration and Motaghayer in the mentioned work as a way to modulate with new methods. In addition to modal changes, Harmony has also been studied in the Gonbade Mina. The use of dissonance intervals for the stable degrees of Dashti mode, such as Shahed, which is contrary to the approaches offered to harmonize Iranian Modes, such as Farhad Fakhreddini or Ali Ghamsari, is examined. This research opens the way for presenting a new harmonic view concerning the Dashti mode, i.e. the mode of the mentioned work, which has two fundamental characteristics. The first feature is to use the sets (015) and (016) as the main chords of the Shahed and Khatemeh and to assign other Pitch-Class sets for other modes’ degrees. The second feature is the use of two diverse cardinals for different degrees of a mode: trichord and tetrachord. Trichords are used for more stable degrees of a mode such as Shahed, Khatemeh, and first and tetrachords are used for other degrees of a mode and modulations. For example, using (0358) for the upper third of the Shahed. The third aspect of this research focuses on the intervals employed to achieve the contrapuntal textures without altering the Dashti mode. The result is the major second and the minor and major third in the form of compound intervals, the minor and major sixth, and the octave, used systematically at different Gushes. The research method in this research is a library study and the harmonic analysis of this work is based on the theory of sets.
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