Document Type : Original Article
Authors
1
Music Department, College of Fine Arts, University of Tehran
2
Vano Sarajishvili Tbilisi State Conservatory, Tbilisi, Georgia
3
Lecturer
10.30480/dam.2022.4310.1729
Abstract
In this article, the researchers have analyzed the orchestration of Persian musical instruments in pieces that have been composed based on different types of musical textures and polyphonic expressions. Such an approach to musical composition in these pieces has led to the creation of a different kind of “dialogue” between instruments in ensembles and the “Persian Musical Instruments Orchestra”. Undoubtedly, the combination of Persian instruments analyzed and discussed in this research differs greatly from the instrumental combinations of Persian ensembles up to the Qajar period. This difference is easily discernible in elements such as timber, balance, number of instruments used, sound volume, and dynamics.
This research is based on the musical scores of the previous century (from the beginning of Pahlavi dynasty onwards). Special attention has been paid to musical scores that have been produced between the beginning of Alinaqi Vaziri’s musical activities (which marked a turning point in Persian music) and the formation of the “Chavosh” center and other thought-provoking musical and cultural trends in recent decades, which have led to the formation of numerous ensembles and Persian Musical Instruments Orchestras, as well as the creation and dissemination of Persian pieces composed based on “texture”. It seems that the main necessity for the expansion of the above-mentioned musical and cultural currents is the Iranian society’s longing for social and cultural development after the Qajar period. It should be noted that the tendency of contemporary musicians toward polyphony in art and thought, as well as the worldwide changes that they take into consideration emphasize the importance of this research. In this research, a Phenomenological approach has been incorporated through a direct analysis of the Persian repertoire, and special care has been taken to avoid any biased inference.
Finally, the conclusion of the research leads to the introduction of two categories: “instrumental function” (in elements such as melodic lines, counterpoint, harmony, and bass) and “score development and progression” (through repetition, accompaniment, pedals, solos, tuttis, and instrumental variation). In other words, every possible function of Persian instruments and the different ways in which they may be combined is included in the provided classification.
To achieve this end, the authors have utilized an analytical- interpretive method in collecting data from library references and Persian instrumental scores.
Keywords
)