The Dastgah Concept in Persian MusicThe tradition of Persian art music embodies twelve modal systems, known as dastgahs. Each dastgah represents a complex of skeletal melodic models on the basis of which a performer produces extemporised pieces. The dastgahs revolve around unspecified central nuclear melodies which the individual musician comes to know through experience and absorption. It is a personal and elusive tradition of great subtlety and depth. Through extensive research, including interviews with leading musicians and recording over one hundred hours of music, Hormoz Farhat has unravelled the art of the dastgah. In his study Professor Farhat analyses the intervallic structure, melodic patterns, modulations, and improvisations within each dastgah, and examines the composed pieces which have become a part of the classical repertoire in recent times. |
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I liked the book,it's a precious work since it has been written in national language and can introduce genuine persian music to the world .the author has tried to ignore the mistakes occured during last decades in order to match persian music to the western music.
Contents
Opening statement 1 A brief historical perspective | 1 |
Intervals and scales in contemporary Persian music | 2 |
Musical concepts and terminology | 3 |
Dastgāhe Šur | 27 |
Dastgāhe Abuatā | 35 |
Dastgāhe Dašti | 39 |
Dastgāhe Bayāte Tork | 43 |
Dastgāhe Afšari | 47 |
Dastgāhe Navā | 79 |
Dastgāhe Māhur | 85 |
Dastgāhe Rāst RāstPanjgah | 100 |
Vagrant gušes | 109 |
Compositional forms | 113 |
Closing statement | 121 |
Appendix | 122 |
Notes | 193 |
Dastgāhe Segah | 53 |
Dastgāhe Čahārgāh | 56 |
Dastgāhe Homāyun | 65 |
Dastgāhe Bayāte Esfahān | 76 |
| 195 | |
| 199 | |
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Common terms and phrases
Abuatā activity Afšāri aqāz basic melodic formula basis Bayāt-e Esfahān Bayāt-e Tork becomes begins Čahārgāh čahārmezrāb called cents century chapter characteristics classical common composed concluding considered contains continued darāmad dastgāh Dašti descending discussed distinct emphasis employs ending established extensive fact finalis five forud Four frequently given in example gives guše-ye gušes Hejāz higher Homāyun identical important improvisation included intervals leap lowered Māhur major measures melodic idea microtone minor modal scheme mode modulation movement Moxālef musicians Navā neutral octave original pattern pentachord performed Persian music phrase pieces pitch played practice present prominent raised range Rāst reason refer reng represented rhythmic šāhed scale seen Segāh semi-tone shown in example shows significant similarity structure Šur takes tekkes tetrachord theme theories third tone tradition transcription usually Vaziri western whole-tone Zābol
Bibliographic information
| Title | The Dastgah Concept in Persian Music Cambridge Studies in Ethnomusicology |
| Author | Hormoz Farhat |
| Edition | reprint, revised |
| Publisher | Cambridge University Press, 2004 |
| ISBN | 0521542065, 9780521542067 |
| Length | 216 pages |
| Subjects | › › Music / Ethnomusicology Music / Genres & Styles / Folk & Traditional |
| Export Citation | BiBTeX EndNote RefMan |