WEST ASIA: Iran

Iran: Islamic Republic; formerly known as Persia;

Source of ancient musical traditions diffused throughout the world.

Persian classical music:

Based on modal improvisation

(modes serve as vehicles for spontaneous composition)

dastgah: modes in Iranian music

Based on 7-tone scales (heptatonic)

Typically performed by a soloist (or with accompaniment)

Vocal music: extensive use of melisma (many notes on one vowel sound).

History of music and Islam in Persia

Antiquity (pre 7^th century):

Greek writer Herodotus wrote of ancient Persian music

7^th-16^th centuries (Arab conquest):

Persian court music in demand; music theory flourished;

large court ensembles common;

16^th-20^th centuries (Shi’ite Islam becomes official religion):

Negative attitudes about music from religious leaders;

Music is profane entertainment, not spiritual.

Public performances ceased; artists entertained privately.

Classical music changed from an ensemble art of composition

to a soloistic art based on improvisation.

Selections from CD 2:

1. Poem of Saadi - voice and kamantche

Iranian classical music is based on modes called dastgah which are the basis for composition and improvisation. This is a vocal improvisation in the mode Bayote-Isphahan by singer Golpayegani. He is accompanied by Ashgar Bahari who plays the kamantche (bowed lute or fiddle). Note the "shaking" style of vocal ornamentation which is characteristic of Persian singing.

2. Improvisation on the sehtar

An improvisation in the dashti mode on the Iranian sehtar (plucked lute) by Ebrahimi. This lute is the ancestor of the Spanish guitar, giving this piece a flamenco-like sound.

3. Improvisation on the santur

Two brief excerpts of an improvisation in the segah mode on the Iranian santur (struck zither) by Hussein Malek. Note the difference in density of notes in the first excerpt (the opening of a 15-minute improvisation) and the second excerpt (the end of the improvisation).

WEST ASIA: Turkey

Turkey: Republic in Asia Minor

(Comparison of Turkey to Iran)

Secularism: separation of church and state after 1920s

Musical mixing: Turkish music has many roots

Turks from Central Asia

Classical music adopted from Persia

Instruments adopted from Persia and other countries

Turkish music also based on modal improvisation

Modes: makam

Based on 7-tone scales (heptatonic)

Most common form of improvisation is the gazel (a non-metric vocal improvisation)

Although the vocal is non-metric, an accompanist may play an ostinato.

Tendency towards arched melodic patterns

with ascending portion shorter than the descending portion.

Extensive use of melisma (many notes on one vowel sound).

Selections from CD 2:

4. Gazel with keman (violin), kanun (plucked zither) and clarinet.

Turkish music, such as this example, originated in classical music of the Ottoman Court and is based on modes (makam) for both composition and improvisation. A gazel is a non-metric vocal improvisation on a poetic text of the singer’s choice. Note this singer’s high vocal tessitura and melismatic style while the instrumental accompaniment plays a steady ostinato with occasional embellishments between vocal phrases.

5. Gazel with ud (plucked lute)

This singer, Isak el-Gazi, was one of the most well-known Sephardic singers of the early 20^th century. He sang liturgical songs as well as Turkish classical songs to great acclaim. His performance on this gazel suggests the religious chanting style of one who recites the Koran (hafiz). The accompaniment by the ud (a short-necked lute without frets) alternates with the voice, leaving the vocalist to sing without the support of an instrument for pitch reference.

6. Sarki with ud, violin, kanun.

A female singer performing a sarki, a light classical piece that is metric and composed rather than improvised. Note how the ud follows the voice with careful precision.