نوع مقاله : مقاله پژوهشی
نویسنده
مربی گروه نوازندگی موسیق یایرانی دانشکده موسیقی دانشگاه هنر تهران، تهران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسنده [English]
Abstract
This study deals with one of the overlooked categories of Tarâne in Iranian’s rhythmic vocal music known
as Bahr-e-tavil. The first section studies the structure of Bahr-e-tavil in Farsi poetry using library sources
and descriptive methods; the second section by using quantitative and analytical methods and transcription,
studies comparatively three categories of Bahr-e-tavil from the areas: Dastgâh-i music, North Khorâsân
Maqâmi and Folk music from the modal, formal, and rhythmic point of view. To prove the threechords of
this genre, the frequency of sample melodies has been evaluated through objective statistics and comparing
melody parameters in separate tables. At each three selected samples then a significant difference has been
seen among the three main melodies and other melodies of each Tarâne. The frequency of the chord choices
has been evaluated through objective statistical consideration and the comparison of chord parameters in
separate tables so as to prove the three chords character of the category. Through each sample, a meaningful
difference can be observed between the three main chords and other chords of each “TARANE”. Beside
the literal terminology and the study of these three choices as case study, this research has made an effort
to introduce this category as the only narrative genre in which the content of the language and the narration
of the story bear the leading role and the musical agents play the supporting role, so as to present the key
supposition of this essay which proves that the natural characteristic genre is three chords. The chord scale
of “BAHR-E-TAVIL” is less than one musical tetrachord and is only limited to the three main chords.
Unlike other forms, its hemistiches don’t possess equality of prosodic headquarters and in fact don’t have
equal hemistiches (in BAHR-E-TAVIL, hemistiches are called clause). The hemistiches of BAHR-E-TAVIL
possess both end and middle rhytme and the rhytmes are created by repeating infinit numbers of pillar
“faalaton”. The topic of BAHR-E-TAVIL is often a narrative story with love content, advice, religious great
appraisal, or up to date social subjects that sometimes is accompanied by irony and humorous. The number
of phrases is often more than 30 phrases. In Iranian music Bahr-e Tavil belongs to the field of MAGHAMI
music of Iran, because it is one modal and one tide. However, in Iranian traditional music and DASTGAH-I
music there are examples of several modol of Bahr-e Tavil.
کلیدواژهها [English]