Melodic Shapes in Gusheh-ha of Iranian Radif نمای حرکت ملودیک در گوشه‌های ردیف موسیقی ایران

چکیده مقاله

Studies on Iranian music are particularly conducted to show its melodic aspects and are highly occupied by the discussions of modal systems of dastgāh-ha and the arrangements and functions of notes and their alteration within a tetrachord and pentachord. Accustom listeners to Iranian music, however, pay little or no attention to microtones and their complicated arrangements. In general, we can consider three main factors in every examination of melodic contours including directions, intervals and time values. Indeed the emotion of listener from exposing to each melody comes from a combination those three elements plus the way performers present of such features. For the purpose of systematically studying and categorizing the melodic shapes of gūsheh-ha of the radīf of Iranian traditional music, I designed a system. In this system I study all main gusheh-ha of seven dstgaāh-ha and five āvāz-ha from the radīf (here the version of Mīrazā abdullāh used as the main reference) and categorize the melodic shape of each in one of the ten kinds of movement as follows: ascending, descending, level, with very limited tonal material, arc, and the pendulum, an undulating type of motion. For each gūsheh I recognized two types of melodic movements, structural and momentary movements. I used my own experience of familiarity with radīf as a musician and comparison of several versions of radīf-ha bay various Iranian masters to distinguish the structural elements from momentary musical incidents in this study. No approach works better than living in a society for learning, performing and experiencing everyday life to make sense of their music and their culture. Nonetheless, for the purpose of categorizing the musical elements, a systematic approach of study which eventually leads to a sort of comparative examination of data is still working accurately, as long as we have the cultural specifications on board. The approach I presented in this study helps to examine the qualitative phenomena of melodic movement in various gūsheh-ha of dastgāh-ha and their subdivisions to acquire a general picture of one of the elements of form in Iranian traditional music. Based on these findings I summarized the central features in melodic shape of gūsheh-ha of the radīf. Out of 106 gūsheh-ha from various dastgāh-ha and their subdivisions āvāz-ha which studied in this project, pendulum movement of melody and moving level with the very limited tonal material have the highest rank in various melodic shapes and movements. As well as having pendulum and level melodic contours as the main melodic movements we face a second kind of movement with takes place at the same time in another level of melodic form of the pieces which is sequential descending of the melody. The findings of this study also revealed that some types of melodic shapes such as “inverted arc,” “sequential ascending,” and “terrace descending” appears very rarely in melodic movements of Iranian melodies. The findings of this study also showed that ascending melodic movements are not popular in melodic structure of dastgāh-ha. Moreover, melodies in traditional music of Iran are usually tended to move in level with a very limited tonal material or having a wave shape outline. شکل کلی یا شمای ملودی یکی از مفاهیمی است که در حوزه‏ی آفرینش و تجزیه و تحلیل موسیقی بسیار از آن یاد می‌شود. پژوهش حاضر با بررسی تطبیقی حدود 106 گوشه، نشان می‌دهد که بیش‌ترین نوع حرکت ملودیک گوشه‌های ردیف موسیقی ایرانی حرکت‌های رفت‌ و برگشتی سینوسی و حرکت‌های افقی در گستره‏ی محدود صوتی‏اند. هم‌زمان با این نوع حرکت‌ها، ملودی‌های گوشه‌ها به‌شکلی نا‏محسوس با حرکت‌های فرعی پایین‌رونده به‌صورت پلکانی دنبال می‌شوند. برخی از انواع حرکت‌های ملودیک، مانند حرکت‌های قوسی مقعر و حرکت‌های بالارونده‏ی پرشی و پلکانی، هیچ‌گاه در ساختار شمای حرکت ملودیک گوشه‌ها استفاده‌نشده یا بسیار به ندرت استفاده شده‏اند. گرایش به حرکت‌های وضعی در ملودی‌های ردیف بیش از گرایش به حرکت‌های انتقالی است، زیرا حرکت‌های وضعی بیشتر در نتیجه‏ی حرکت‌های افقی و دور‏زننده‏ی ملودی حاصل می‌شوند و حرکت‌های انتقالی بیشتر نتیجه‏ی حرکت‌های بالارونده و پایین‌رونده‏ی ملودی‏اند. بررسی راستا و جهت در ساختار ملودی‌های ردیف واقعیتی بسیار مهم را درباره‏ی ردیف موسیقی ایرانی آشکار می‌کند، این واقعیت که ردیف موسیقی ایرانی اساساً در خدمت آواز است، حتی اگر ردیف روایتی سازی باشد، زیرا حرکت‌های ملودیک طبیعتی سرایشی دارند.
(PDF) Melodic Shapes in Gusheh-ha of Iranian Radif نمای حرکت ملودیک در گوشه‌های ردیف موسیقی ایران. Available from: https://www.researchgate.net/publication/308966646_Melodic_Shapes_in_Gusheh-ha_of_Iranian_Radif_nmay_hrkt_mlwdyk_dr_gwshhhay_rdyf_mwsyqy_ayran