نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشکده موسیقی، دانشگاه هنر ایران، تهران ایران
2 عضو هیات علمی دانشگاه هنر ایران
3 مربی، دانشکده موسیقی، دانشگاه هنر ایران، تهران ایران
چکیده
عنوان مقاله [English]
نویسندگان [English]
This study aims to examine the techniques of piano accompaniment for voice in the works of contemporary Iranian composers and to analyze the capabilities of the piano in conveying musical and textual meanings. The central research problem is the identification of patterns and approaches employed by Iranian composers in organizing the relationship between the vocal line and the piano part. The main samples analyzed include works by Roubik Gregorian, Morteza Hannaneh, Aminollah Hossein, Mehran Rouhani, Mohammad Saeed Sharifian, Mohammad Reza Tafazzoli, Amin Honarmand, Rebecca Ashoughian, and Amir Alavi. A review of the existing literature reveals that published studies on piano–voice accompaniment in the works of Iranian composers remain extremely limited, and no systematic research has yet specifically investigated the textural, harmonic, and interactive dimensions of this accompaniment. In non-Persian sources, scholarly attention has primarily focused on the Western art-song tradition and on the historical transformation of the piano’s role from a subordinate accompanying instrument to an active partner in dramatic expression and poetic representation. Nevertheless, the analysis of Iranian works in this domain has largely been neglected. The present study, by concentrating on this repertoire, seeks to address part of this research gap. The findings indicate that a predominantly homophonic texture is employed in these works, with the vocal line retained as the melodic focus. At the same time, the degree of independence and dynamism of the piano accompaniment varies significantly across the examined pieces. The harmony is largely modal and non-functional, making greater use of secundal structures, quartal sonorities, limited clusters, and chromatic coloration than of classical tonal relationships. In this repertoire, the piano functions not merely as a harmonic support but as an active element in the organization of temporal flow, emotional atmosphere, structural cohesion, and interaction with the poetic text. The research method is descriptive–analytical and is based on the study of scores. The results demonstrate a diversity of approaches among Iranian composers in utilizing the resources of the piano. These approaches, while preserving the primacy of the vocal line, employ the instrument’s textural, rhythmic, and harmonic capacities in the service of musical and poetic expression.
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