Studying and adapting extended techniques for Qanun, by presenting the method of notation in contemporary composition

Document Type : Original Article

Authors

1 Assistant Professor of Composition, Faculty of Music, Iran University of Arts, Tehran, Iran.

2 Master of Music in Composition, Faculty of Music, Iran University of Arts, Tehran, Iran.

3 Faculty Member, Faculty of Music, Iran University of Arts, Tehran, Iran.

10.30480/dam.2025.5407.1912

Abstract

This research examines the extended techniques for Qanun and explores different methods and approaches to expand the instrument's capabilities to produce new sounds. Moreover, the research presents methods for notation for each of the introduced techniques. One of the main goals of this research is to provide new sounds and effects for Qanun with regard to its construction and capabilities, which can be used in contemporary music composition. The main questions of the research are: 1. How can new sounds and effects be produced by using different parts of Qanun? 2. Which of the extended techniques from other instruments can be applied to Qanun according to its capabilities? 3. How can newer effects be achieved by changing the sound production factors? 4. Which conventional and less conventional techniques of Qanun can be changed to produce new effects? 5. What methods can be provided to notate the introduced techniques properly? Eleven techniques are introduced in this article, each of which differs in terms of the sound quality produced. Some techniques are played on different parts of Qanun's body, such as the soundboard and the bridge, producing either a sound without a specific pitch or a hybrid sound (a combination of noise and a sound with a specific pitch). Some other techniques were borrowed from other instruments, such as the violin and piano, considering the capabilities of Qanun and its implementation possibilities, or were derived from modifying conventional and less conventional techniques of Qanun. Another group of techniques was invented by altering the sound production factors (such as the pre-designed metal stick and the palms). The proposed method of notation for each technique is designed and presented according to the way they are performed. The study of each technique is based on various sources and solutions that miscellaneous composers have introduced to notate similar techniques in other instruments in their works. The introduced symbols by other composers are used with or without changes.

Keywords

Volume 15, Issue 39
March 2025
Pages 86-105

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